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Publishers' Note 



2^ 



N THE last paires of this 
volume you will find the 
names and addresses of 
the largest and most 
reputable manufacturers 
in the Unitecl States in the different 
branches of supplies for Sign 
Painters and Show Caicl Writers. 
As publishers of this volume, WE 
GUARANTEE any orders sent 
them will be promptly executed, at 
their reasonable, low prices. 
Yours fraternalh^ 
Frederick J. Drake cS: Co. 



4. 4. 



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urn 



5HOW ^^„ 




COMPREHENSIVE 
\ COMPLETE n 

Vconcise/ 

R H . ^TKI NSON 
G .W. AXKINSOIH 



3- 




PUBLISHERS 

FREDERICK J. DRAKE & CO. 

CHICAGO, U. S. A. 

^445 







A 



A > 



CdPVKii'.HT mrj 

I.OCAN K. DKAKK 



COl'VRKVHT I'.Mo 
I'RHDKRICK J KKAKK ^: CO. 






OCI,A;!4 34 10 






PREFACE 

A niodci'ii ti'catisc on card writiiii; with the sole intent of 
prcscntinti- in a dear and <-oncisc foi'in all that can he desired in 
the way oi' practical method execution and desit^n, relative to the 
art as ai)]ilied and ]>i-actice(l in everv-day work in sliow card 
shops or stvidios, and department stores. 

Between the covei's of this work will lie found a series of 
instructions written and illustrated in a manner which will enable 
anyone of avera.ii'e int(dlit;ence to accjuire a tlioi'oui^li workinj^ 
kuowledti'e oi' this interestinii'. a.ureeahle and lucrative i)i-ofessioii. 

Thei'e is nnicli in the woi'k that lias heeii i^leaned fi'oni con- 
temiioraneous talent for the vei-y i^ood reason that a work of this 
kind to be coni])lete and bi'oad should ])e contemi)oraneous. .i^iviuf^ 
exitression to the methods most in vo<rue with jn-esent day <'.\'i)erts 
and also a stronj? showinc^ of contem]ioraneous design. 

All art is subject tf> nevei- endin<; de\'elopment and it would 
be inqiossible to anticipate all contingencies or coiu])ile between 
the covers of any ))ook however lai'^-e all that nii<;ht be said upon 
this or any kindred subject; howevei-, it is believed that the prac- 
tical phases of the art liave been tliorou,t,ddy covered, so th<»rou,t,dily 
in fact, that the work is res])ectfully submitted and dedicated to 
the Show Tard AVi-itin,L>- Fraternity an<l those dcsii-ous of eiitei-ini,^ 
the ]n'ofession. 

FRANK 11. ATKINSON. 



SHOW CARD WRITING 

The gTowtli of this Wraiicli of tlic sinn paiiitci-'s profession 
has iiici'cascd vci-y i-a]ii(lly witliiii I'ccciil ycai's. 'I'lic (Icuiaiul for 
clever artistic cards can he attril»ut('(l to the proyi'cssivciiess of 
the averaj^e inerchaiit. 

Curd writing" in the ohl (hiys, a (h'cacU' oi' more at^o, was 
usually sui)])li('(l hy the hx-al si2;ii i)aiiil('i' wlui did not cater to 
the work and very seldom considered it of cnouuh importance to 
install equi])ment for the rapid and artistic execution of cards. 
A show card order invariahly found its way into the "knock-out" 
department and "i-rouud" out in a hurry. 

A few there were who liad the foresiy'ht to dc]>ai'1 from sign 
paintinij and take up show cai-ds as a specialty and tlicy, in turn, 
hecanie the vanguard of ]ir('S('nt da\- Show (!ai-d Wi'iting, 
incidentally reai)ing a golden harvest foi- their pains. 

Following will he found insti'uctions as to use of latest tools, 
hrushes. materials and methods used in mo<lern show card 
writing. 

MATERIALS 

"With reference to materials, it is suggested tliat mdy the best 
are to he considered, especially brushes. All expert letterei's will 
l)e found in ])ossession of the very best tools, the cai'c of them 
almost a religion. 

The card writer is fortunate in needing liut few tools and 
materials in the execution of his work. At tlie stai-t it is not 
necessary to equip with all the A'ai'ious things riMjuired to ])roduce 
unique and odd eti^'ects. The following list will suffice and includes 
everything essential for ordinary work : 

One No. 4 red sable rigger, one No. (> red sable riggei-, one 
No. 10 red sable rigger, one No. 12 red sable riggei-. 

One-half dozen, assorted 1 to 6, Russia sable l)rushes. 

^Marking pens, Nos. 1 and ;>: shading pens, Nos. 1, 4 and 5. 

One No. 8 flat show card brush, one No. 10 flat show card 
brush, one No. 12 flat show card bi-ush. 

One bottle black shading ink: one bottle red shading ink; 
one ounce usual gold bronze; one ounce stri])ing gold bronze; 
one 1)0X white school crayons; one box artists' charcoal; one ])air 
large shears; one s])onge (inibber), one straight edge; one 
T-square; one wooden ])encil conq)ass; one jar ]\[onogram fresco 



2 SHOW CARD WRITING 

color, black; oue jar Monogram fresco color, flake white; one jar 
Monogram fresco color, ultramarine Ijlue; one jar Monogram 
fresco color. (lee]i Turkey red; oue jar [Monogram fresco color, 
light Turkey red; one jar Monogram fresco color, medium chr. 
yellow: one jar Monogram fresco color, light chr. yellow; two 
Soeunecken pens, Nos. 5 and 6; two stub pens, Nos. 1 and 4; one 
soft lead pencil, II. B. 

The alcove list of materials will be supplied to you direct by 
the Advertisers in this book at the low price of $9.50 — the equip- 
ment will be found to be first class in every ])articular. 

Brush Practice 

Do not attempt any lettering with the brush mitil the 14 
strokes necessary in the formation of any letter or scroll are fully 
mastered. 

p^gi These strokes are shown in Fig. 1, where 

D/'^^> /^nX fli<^.^' '11''' coml)iued in the formations I, S, 0, and 
i Vo^ / I I 1 again in their individual foi-m in Fig. 2. Bear 
j ^«B^^ yy^y in mind that constant })ractice is necessary to 
master these strokes and the control and use <»f 
the lettering brush. Always make a brush stroke continuous. 
Avoid short, "cho])])y" strokes. Practice will demonstrate that a 
line, either curved or straight, can be drawn much more exact and 




mm 




1 2 \\Z 



pleasing with a moderately rapid, steady stroke, than when the 
movement is slow and hesitating. 

Always begin a letter by executing the vertical strokes, the 
left vertical stroke flrst (flnislied letters), and the right vertical 
stroke next. Execute the coi-rect formation and ])roportion of 
the letter first, after which add the spurs or other peculiarities, 
which as a nde do not affect the ])roportion. 

In Brush Practice 

Note the following: Do not work with a shar])ly pointed Itrush. 
Brush shoidd have a "flat" point like a chisel and kept so l)y keep- 
ing the hair s]>read by stroking upon a ])alette at each recharging 
of the brush. (For fine line short stripe, the brush can be turned 
edgewise of the flat point and the line drawn rapidly with the 



Till-: SINOLK STK'OKK .M in'IlOl) 3 

bare tij) or cxtrcuic point.) AVlieii joiiiiiii-- two brush strokes do 
not resume at tlu' stoiipiny point of ]ii'e('c(lii)s- sti'oke. Ix-iiiii ;i 
slioi't distance hack <ir inside the preceding;- sti'ukc and gradu- 
ally work the "pencil" to point of cdutiiniance. No niattei' how 
lony a stroke is it should appear as though drawn in one opei'atioii. 

The brush should l)e held between the thumb and bn'chnncr 
tirmly, but li.nhtly, in nuieh the same ])osition as a jien or lead 
])eneil, not stiff or riyid, but so as to allow the liandle of the binish 
to roll between the liniicrs wlien necessary, as in the execution of 
a curve. 

I'ry to maintain a unifoi-m lii;h1 pressure uidess a "swell" is 
desired. In this case, tii'st place "point" to surface at Ix'^in- 
ning of sti'oke, increase ]ii-essui'e <^radualiy until the re(|uii-e(I 
width of stroke is reached, and tlieu (U'crease the ])i'essure ternii- 
iiating the stroke at ])oint of brusli. 

(The forey-oinii- ])arai,n-aiili a)>plies i)]\\\ to "single stroke 
script.") Draw lines slowly and continuously at bej-innini;- of 
practi<'e. Exeeute a straight unwaverin,-;- line on the sich- that 
represents the "finished edge" of the letter, ]>ay no heed to the 
inner edge of stroke. 

This rule cannot l)e followed in "one stroke lettering," as 
both sides of the sti'oke nnist l)e uniform and sti'aight. "One 
stroke work" re(|uii'es an even ])ressure on the ])rusli constantly 
except in "one stroke script" where the swell occuis. 

Keep brush well charged with color to a\did i-agged edges. 
If brush is too full of color, or color too thin, it will get beyond 
(•(tnti'ol. Color must be projiei' consistency, not thick noi- too 
thin. If too thin, it cannot be controlled. If too "thick." it will 
"jHill" and refuse to How freely — resulting in an im])ei'fect line. 

l)i])])ing the lii'ush in the color is not all that is re(|uired l»e- 
fore a])plying it to the surface. To tlioi-dugldx' "charge" a brush 
and get "slia]>e" to it after dip])ing, work it ba(dv and foi-tli on 
a palette, turning to right and left sevei-al times, after which <lraw 
it gently toward you on one side, the "side" resting on the palette 
should now be a])]»lied to the sui'face. Chai'ge fi'equentlv, nevei" 
woi'k with a "semi-dry" l)rnsh (the seci-et of good exeoitiou is a 
fully chai'ged ])encin, aiid eventually ae(juire the ability to execute 
with light touch, enabling you to execute with ])oint of J)rush and 
the brush fully charged. Do not foi-m the habit of "hard ])res- 
sure" on a lettei'ing pencil — there is nothing in the heel of the 
brush, it's all in tlie ])oint. 

THE SINGLE STROKE METHOD 

The term "one stroke" is applied to a letter whose individual 
parts are executed with one stroke of the brush; thus the Egyptian 



4 SHOW CxVRD AVRITING 

letter "K" one stroke, is executed with Ijut three strokes of a 
suitable Ijrush. (Brushes having fine square points and those of 
the "flat" variety, are most suitable for "one stroke work." 
Properh' "loaded" and with the proper "touch" a s(|uare •"start" 
and a square "stop" with uniformity of stroke is the result. ) 

The "start" and "stop" of the stroke and its general swing 
(h'ti'rmines its claim to character. 

To execute the Egyptian "K" in the finished method recpm^es 
10 distinctive strokes. On card work, oilcloth and nnislin signs 
it is highly commendable to use "singk' stroke" lettering, or upon 
any sign work of a temi)orary nature, owing to the rapidity of 
execution. 

Do not confuse the "single stroke" method with carelessly 
executed work. Tt rerjuires more al)ility and good expert touch 
to execute a "single stroke" letter than it does to execute a 
"finished" letter for the reason that the nmnber of strokes are 
rediiced to a minimum, whereas a "finished" letter is a letter 
correctly formed and executed in every detail with equivalent 
strokes necessary to ))ring this result. 

Letters outside of the "Pen Alphal)ets," viz.: Letters carry- 
ing thick and thin strokes are not ada])table to the single stroke 
system, excepting heavy script, whicli readily adapts itself to 
the "single stroke" method ))y using the "swelling" stroke. 

Those best adapted are the Egyi)tian, Round Fidl Block, ^lod- 
ern Full Block, Eccenti'ic Block, Tuscan Block and Modern Italic. 

These can all be rapidly formed in "single stroke" minus 
the accurate finish of s})urs and minor detail which would class 
them in the finished order. 

As mentioned, the Pen Alphabets, such as "Ih'adley Text," 
"Old English IModified," "Pen Roman," "Round Writing," etc., 
are readily adapted to rapid one stroke execution. 

Never do an inscription entirely in "one stroke"; execute dis- 
play lines in "finished styles," reserving the "single stroke" h't- 
tering for the less im])ortant text of the inscription. Following 
this suggestion your work will always have character and "classy" 
appearance. 

On rush work, incident to special events, such as Fairs, Carni- 
vals, Department Store Sales, etc., the o])])ortunity is great for the 
development of designing and letter composition that will come 
under the "single stroke" head and have the appearance of serious 
liigh grade work. As much Art can l)e introduced into temporary 
sign dis])lay via the ra]iid stroke route as in the serious conserva- 
tive field of ]>ermanent sign painting. 

Cultivate a knowledge of abbreviated ornament, principally 
Rococo, which can be rendered quickly. Odd shaped panels, and 



nOLDXKSS OF S'I'K'OKK 5 

in fact aiiytliiiin- in llic \va>- oT (■iiihcllishiiinil wliicli is iincdii- 
ventioiial. 

'I'his sun-<i-csti(iii ainiic ^■i\rs (Hic iinliinit('(I scdjic in develop- 
ing- iiriyiiialil y. 

In iii'der t(i ae(|nii-e (•(inlideiice it is necessai'\' to woi'k as 
I'apidly as possible, with a " know in i;- decision "' as to direct ion and 
formation of sti'oke. 

BOLDNESS OF STROKE 

And it is well not to woi-k too eai'efully — boldness is the 
sloyan of all ex])erts and to hesitate mii^ht s|>ell I'ailnre in the 
case of one natnfally timid, h'aithl'nl practice will e\-entnally 
briny- resnlts — do not e.\]M'ct to niastei- brnsh manipniation with- 
out conscientious, hai-d, eai'nest el't'oi't. 

THE BRIDGE OR ARM REST 

The "bridge" is made I rom a st ri|) of ]iine, 1 inch liy '_*' ■_. inches 
by 36 inches. l*lane it smooth and tack a block at each end 1 inch 
by 21 ■_. inches by 12' ■_> inches, sliyht ly round the top ed^cs and it is 
ready for woi'k. 

The bi-idy-e is reconuneiided for the (lis])la\' or feature lettei-- 
iim'oiiacai'd which is usually in a "• linished " style. Most experts 
do not use the bridge at all; they prefer to rest the "brush hand" 
directly upon the card surface. 

'file object of the bridge when used is to j^'ive steadiness to 
the band and iuci'ease the latitude ol' all sti-okes, raising the band 
as it does about '_* inches above the card surface. 

POSITION OF THE WORK 

Card writiiig should be executed ui)on an inclined plane, the 
letterer to work in a standing position. 

The best card bench t(. t>e had is the popular "DRAWING 
TABLE" found in all artists' matei-ial houses. Tt is ((uickly ad- 
justed to any desired plane, and can be raised or lowered. A 
thin ]iiece of moulding strip tacked on l)ottom edge of table to act 
as a "ledge" will ]i]'event loose cards from sliding oft" of table. 

SHOW CARD BRUSHES 

Tbe brusb or fool is the luost important item of card writing. 

RED SABLE BRUSHES stand in tbe front rank as tbe best 
for water color work. The bi'usb known as "RED SABLE 
RIGGER" is the most pojndar card brusb. It is "regular stock" 



6 8H0W CARD WRITING 

in all su])ply houses, and when put into commission the handles 
should bo cut to a 6-incli length. 

Bert L. Daily, Dayton, Ohio, caters exclusively to card writers 
and sign ])ainters in the ])rush line and has several very tine spe- 
cial brushes that are made to his special order. His catalog will 
enlighten those interested in the special tools designed to meet 
the demands of critical ex])erts who will have only the best. 

CARE OF BRUSHES 

Brushes used for lettering should ))e I'eligiously cared for. 
Brushes used in water colors should l)e thoroughly cleansed in 
water and smoothed between the fingers to their natural position 
and laid away carefully. 

Never stand a brush on end. as the weight of the handle will 
so warp the hair that the brush is practically unlit for use. 

Never allow Iti'ushes to dry with color in them. 

If several brushes and colors are in use on cards, rinse each 
brusli lict'orr laving it down, and in this wav save time, temper 
and BRUSHES. 

PEN WORK 

The i)ens most used in cai'd writing arc of several varieties 
and sizes, as follows: 

STUB PENS, RULING PENS, SOENNECKEN PEN, 
SHADING PEN, MARKING PEN. 

All of these pens can ])e found and purchased from Tlie New- 
ton Automatic Shading Pen Co., Pontiac, Mich. 

The STUB PEN is used for very small lettering on cards and 
price tickets. They can be ()l)tained in many sizes and 1)efoi-e use 

Marking Ffen glrokes 
Fig. 3. 

should be slightly softened liy placing pen in holder and liolding 
lighted match to the point 2 or 3 seconds and then QUICKLY 
dipping into -water. It is then ready for use in ink or ])ro])erly 
thinned down color. 

Pens all sizes are adapted especially for the Alphabets, known 
as OLD ENGLISH, Bradley Text, Round Writing and several 
of the modified Roman stvles. 



i;rLIN(i I'HNS 7 

The pen strokes are sliuwu in Kij^-. :>. It is best t<» till or 
charge pens witli a brush or jx'n tiher instead of dipping;-; in this 
way the danj^<'r of blottiiii;- is reduced to a uiiuiuiuni. 

Practice the PEN STROKES as pei-severin-iy as you have 
the brnsh sti'ol'Ces. Vou should be as protieieut with ihe sevei'al 
sizes of pens as you are wilh the; brusli before anticij)atin,L!,' much 
real proj^ress. Tpon the mastery of brnsh and pen will dejx'nd 
the success you wish to attain. 

Card pens are not as elastic as the writing' jieiis everyone is 
familiar with, hence they will i'e(|uii'e more "pressure." 

They slmuld be cli'aned frei|uently and kept clean when not 
in actual use. 

RULING PENS 

The Ruling l*en is used exclusively foi' sti'aight lines of diffei-- 
ent widths, regulated by the thumb screw that passes through the 
blades. 

They ai'e vcvy useful lor drawing lines on price tickets and 
for underliinng jiurposes. 

]\lnst be tilled by ])assiiig a bi'ush charged with ink oi' coloi' 
between the blades. de])ositing the ink to de|ith of i | inch in point 
of ]ien — the outside <d' the blade should be kejit clean. 

IJuling Pens caimot be used tor any free hand pen work; 
must be guided by sti'aight edge or "T" S(|uai'e. 

An\' kind of ink. water color or water mixed with broii/es 
may be used in ivuling Pens; if the ink oi" medimn refuses to flow 
from ]»eu. touch point of pen t(» back of fingei'. The pen nuist be 
held in an almost iiei-peiidiciilar piisiti<ui when running lines. 

SOENNECKEN PENS 

Soemieckeii Pens can be used for eveiw pui-i)ose that the 
"stub" ])en is used for. particularly adapted to Engrossing Text, 
Round Writing, Old English, etc 

MARKING PENS 

]\Iarking Pens are to be used in the same manner suggested 
for Roemieeken and ''stubs." They ai-e lai'ger in size and a(lai)ted 
for full sheet cards and double full sheets, where a larger text 
is used in executing tlie inscri])tion. 

l^'ollowing suggestions cover full\' the mani])ulation of the 
Marking Pen. Fig. ?> shows all the strokes. 

Hold pen same as in ordinary writing, l)eing careful to estab- 
lish a position that will give point a 45 degree angle when jtlaced 



8 SHOW CARD WRITIXC 

upon the paper; once established this position must be maintained 
throughout the whole inscription devoted to pen execution. 

The Avhole width of the pen should at all times rest evenl}- 
upon the card surface, regardless of the direction of stroke. 

All line lines an- rciKhM'cd by sliding pen edgewise, the gradu- 
ated "faces" of otlu'r strokes are created automatically by ])res- 
sure. ( 'ontiuued ])ractice will demonstrate this. 

Practice the strokes and after mastery you will find that a 
proper combination of these strokes will form any of the styles 
known as PEN LETTERS and previously suggested. 

SHADING PENS 

These pens are so-called for the very pleasing feature of the 
"double -value" stroke; i. e., one stroke of the pen makes two dis- 
tinct shades or color values. The lighter color value that flows 
from the left side of the pen is known as the shade or thickness, 
the deeper color value is known as the main stroke or "l)ody" of 
the letter. 

SHOW CARD COLORS 

MONOGRAM FRESCO COLORS (Geo. E. Watson (\x, Thi- 
cago) are the colors most suitable for card work. They are rapid 
and haA'e the advantage of l)eing previously ground in water to a 
suitalile degree of fineness. The adhesive or Ihndiug (|uality nmst 
be added when a color is to l)e used. 

Japan and oil colors can be used successfully in lettering cards 
and are often used in sign shops whei'C the volume of card work is 
so small as tt) render it impracticable to cari-y a water color 
equipment. 

Also bear in mind that card signs ex]»osed to the elements 
should alwavs lie cxccute<l in Ja]ian colore, or water colors mixed 
with LIQUID GLASS. 

Li([uid Glass can l)e ol)taine(l at the nc'ai'by drug store and 
works with water color (|uite agreealdy. 

DRY COLORS 

Most of the dry colors can ])e ground in water, either in small 
druggist's mortar or uixm marble or ground glass slal), using 
glass muller or large palette knife or spatula, after which add 
adhesive enougli to bind the color sufficiently to prevent same 
from "rubbing up" after the color is dry. 

ADHESIVE FOR WATER COLORS 

Ol)tain a |)ound of DEXTRIN at drug store; dissolve in boil- 
ing water say 1 (|uart; dissolve as nmch as the water will take up; 



ANOTHER (iOOI) ADIIKSIVK 9 

stir constantly while (liss(»lviii^, .-irtci- which strain thron^ii cheese 
cloth and when cool add OIL OF CLOVES, I'O drops to the (^nart, 
to prevent mold and souring'. 

ANOTHER GOOD ADHESIVE 

One iK.nnd of GUM ARABIC to one (luart of water (liave 
water (|uite lidt): let dissdhc sluwly. a (\;\\ nv two will sufiice. 
stiri-iiii;- occasionally; when well dissoh'ed strain tliroii^h I'olded 
cheese cloth: a(l<l I'd drojis of OIL OF CLOVES and a Hne strong 
mucilage is the resnlt. 

SHOW CARD INK 

I'.leached (iuni Sliellac. 2 ozs.: Itorax Crystals, 1 oz.; water. 
1() ozs. 

Powder the Shellac and Borax in a nioidai- and ]ilace o\-ei- 
beat in an enameled ])ot. ]ioil, and when it he^ins to foam remove 
from lire and allow it to cool. Iicpea) the lioilin^- niitil 1 lioron<ihl\- 
dissolved. When a^ain cool sti'ain thi-oii^ii <-heese cloth. Add 
any desii'ed pigment and mix thoroughly; strain a^'aiii. 

If a flossy ink is desired add Yellow Dextrin; 1 to 4 ozs. Dex- 
trin to 1 ]iint of ink. 

However, "g'lossy letterin,n"' on cai-<ls is not much in xo^'ue 
at jtresent, the "flat" effect is most desired. The ahove will take 
care of the i^loss ])rol)lem, and dispense with the oldei' method of 
nsin<i- As]ihaltuni, which nurst l)e thinned with Turpentine and 
causes no end of annoyance when tlie etfoi't is made in othei' than 
a well ecpnpped sign shoji. Hence, as ]ii-e\ionsly mentioned, the 
Dextrin mixtnre will take care of the Gloss problem when a (iloss 
is intt'nded. 

LETTERINE 

Letterine is a fairly agreeable Ink in Black, but caimot be 
recommended in the colored Inks for the very sane and ]ii'actical 
reason that they are senn-transparent, and no lettering mixture 
for any surface in card writing or sign ]iainting can l)e tolerated 
if semi-trans]»arent. Tlie lettering nuist be ojiaqne; i. e., thev 
nnist have COVERING CAPACITY. 

WHITE 

French Zinc White (dry) is the best white for card writing 
purposes, (irind same on slab or mortar same as any dry coloi-. 
It has the very excellent (|uality of al)solute ojjacity — it covers 
readih- on hrst sti'oke on l)lack or dark colored sui-faces. 



10 SHOW CARD WRITING 

"MONOGRAM FLAKE WHITE is second" as good "cover- 
ing white" for cards. 

CARDBOARD 

Under this head will l)e given all kinds of board and papers 
necessai'v to ja-odnce the "smart*" and novel effects in Show 
Card Art. 

The regular size l)ristol board is 22x28 inches, half sheet is 
14x22 inches, quarter sheets 11x11, one-eighth are 7x11 inches. 
Following these dimensions the card can always l)e cut without 
waste, and these sizes are known as "stock sizes" — not advisable 
to cut them by hand; it is best to have the dealer from wliom the 
cards are purchased cut the stock in the sizes given. If the dealer 
has no cutter take your "boards" to the nearest job pi'inter and 
he will cut up the stock for nonnnal price. 

I)(iul)le sheets (2Hx44 inches) ai"e vei-y desirable for large 
cai-ds, obviating the necessity for pasting together two "full 
sheets." 

If double cards cannot l)e obtained "butt" two full sheets 
together and glue together liy using strips of cardboai'd on l)aek. 
Make these strijis at least 5 inches wide to get sufficient adhesive 
surface, and use Le Page's Glue for the adhesive agent. 

I'se no bristol l)oard less than 4 PLY and keep u\ stock 
coated boards (i. e., boards having white glossy sin-fai-e) and un- 
coated boai'ds (boni'ds having dull surface). The foregoing will 
a])])ly to your white board. 

Colored cardl)oard is nearly all tinished with a dull "flat"* 
surface, making it very suital)le foi- water color. Obtainable in 
many diffta-eut shades and made full sheet size oidy. but of differ- 
ent weights. 

Light weight cards are not desirable. Have weights run from 
4 to 8 ply. 

MATT BOARD 

Matt Board is used extensively for border and frame effects; 
it is finished in a dull pulpy surface, also pebble surface. Obtain 
them from picture frame dealers or wholesale paper houses. 

They form an agreeable contrast when combined with the 
smooth surface of iimer cards and panels. 

Not suitalde to bear lettering liut yield readily to decorative 
effects in floral and ornamental motifs or themes. 

Photographers cardboai'd is adapted for work of a perma- 
nent character. It has a smooth surface that "takes" pen letter- 
ing well. Can he ol>tained in various sizes and is usually beveled. 

'The term " Flat " as applied to paints means a dull surface without gloss. 



AirriFK'IAL FLOWERS 11 

Small ])hoto iiiiuiiits arc vciy tine foi' neat exclusive |ii'icc 
tickets. 

('ard siyiis iiiax' lie cut iiiln aii\' sliajic oi' design dictaled 
1)\' the t'aiic\- of the Icttei-e)-, lieini;- careful to haxc the shape of 
the card aci-dinuKidalc itsel !' 1<> ihc iuscript ion nicely and aii|ii'<iiiri- 
ate tor the purpose iutcndccl. 

For exanijile: .\ii exti'cinely fancy shap<'d cai'd licariiin' a 
memorial inscription would he an uupardoiiahle incoii^-ruity, 
whereas a card aiuiouiicinn' a tioi-al exhihit i-ould he very ornate 
in its outline as well as in ti'cneral desi<;'n. 

The standard sizes of cards less than full sheet wei-e estah- 
lislied for economical reasons, which, howevei', does not pi'ohihit 
the desi,<;ninii' of noxci cards that call for a little clever entting, 
and which woidd incidentally jilace the product of your hand con- 
siiicuously in the lead. 

ARTIFICIAL FLOWERS 

Artificial flowers play a vei-y iiujiortant ]iart in clever card 
creations, and can he made to enter largely into yonr very special 
work: fastened (puckly to card by means of fine wire jjassed 
through card and twisted on ha(d':. 

FOUNTAIN AIR BRUSH 

The work that can l>e accomplished by this simple insti'umeut 
is not oidy Ix^autifnl hut vei'y attractive. 

NO PROGRESSIVE CARD WRITER PRETENDS TO DO 
BUSINESS WITHOUT THIS MOST WONDERFUL LITTLE 
TOOL. 

It is the most important item in the general e(|uipment of the 
card writer catering to modern re(|uirements. 

Air brush work is in evidt'iice everywhere and is deservedly 
popular-. 

The instrument is easy to mani]»idate and most wondei'ful 
effects can be ol)tained by it. 

It is used extensiA'ely by lithogra]ihers. engi-aving house d(>- 
signers and ai'tists, ]iortrait ai'tists, photograjihers, monumental 
designers, etc. 

It is especially desirable for all kinds of work whei'eon differ- 
ent values of tones or shading effects are desired. 

For years it was used by ]M(i-trait ai'tists exclusivel\-. but has 
recentlv lieen im]irove(l, the '"iiencir" model forcing tlu' old l)lock 
model entirely out n\' the field. 

The Paasche ^bidel l-]-2 has a marvelous ca])acity foi- ap])ly- 



12 SHOW CAKl) \MnTTNG 

iui-- color and distrilnitini^- lariic (luaiititics in a short time — 
adjnstable to the tincst line. 

Especially desiral)le where background designs for show cards 
are desired in dn]ilicate and in qnantiiies hirge enough to warrant 
the designing and cutting of the stencils or masks. Also in giving 
an agreeable rounded effect to displays oi- feature lines of letter- 
ing upon cA'en your cheai)est work. It has the happy faculty of 
lending tone and dignity to the most hurried and rapidly executed 
cards that you would term cheap and mediocre. 

STENCILS OR MASKS FOR THE AIR BRUSH 

The very best material for cutting masks for air brush work 
is reasonably heavy sheet lead foil. To ])repare the foil foi' cut- 
ting, roll or press in close contact upon sheet of glass, give slight 
thin coat of white water color. 

Di'sign is previously drawn u]iou white Damascus Bond ]iaper. 
Rub back of drawing with dry English Vermilion (dust otf 
lightly), attach di-awing to glass by means of "stickers," take S-II 
LEAD PENCIL and ti'ace drawing u]ion foil, after which pi'oceed 
to cut out the "openings" in foil mask with cambric needle fas- 
tendecl in holder. 

This mask has the tendency to lay absolutel>- flat upon the 
card while '"jilaNing" tlie air biaish s]iray upon the openings. 

PAPER MASKS FOR AIR BRUSH 

Paiiei' masks are i-ecommended if it is impossible to obtain 
lead foil. Pniceed as in the foregoing and cut out the ■'ojienings" 
with sharp pen knife. 

When in use keep mask in position by weighting it down with 
"printers' leads," or slugs, as they are sometimes called. 

The air brush is ])ractically indestructil)le and with i)roper 
care will last for years. The cost of an air brush outfit is expensive 
only in a preliminary way when it is considered that they endure 
no end of usage. Care is the only essential, and it is not safe to 
"feed" all air bi-ush with any but the pui'est. finest colors and 
iidvs. Observing this jirecaution the life of an "air" e(|ui]iment 
is indefinite. The above Paasche Air Brush Model E-2 supplied 
by Advertisers in this book or by Paasche Air Brush Co., New Era 
Biiilding, rhicago. 

ATOMIZERS 

Some Yery ])leasing broad effects may be obtained by using 
an ordinary perfume atomizer. However, a piece of work sprayed 



RAISED ORNAMENTS 13 

with au atoiiiizci- caiuiot cuiiiiiai-c with an "AIR BRUSH CREA- 
TION." 

IliLliiiiKs Draw iiiLi,- liil>:s may ]>(■ used siiccessrully in the 
atonii/.ci'. 

RAISED ORNAMENTS 

Raised ornaments, in tlic sli;i])(' of scrolls, wi'caths. ovals, 
circles, odd shaped ])an('ls, etc. arc nsed extensively \>\ all ]ir(>- 
gressive card wi-itcrs. Tliey ^ive a cai'd a rich eialxu-ate appear- 
ance. 

'J'hey are rendei'cd \\\i\\ the air pencil, which is sinipl>- a 
rnhher hnll) with several differently sha]>cd nozzles. 

h'ill tlie linlli with 1lie plastico mixture of the ri^ii! consistency 
to flow from nozzle under ])ressnre of the hand. 

After lightly drawing in design with ]iencil oi- chai'coal. hold 
the hnll) in the ]ialni (d' the right hand and r<'gnla1e the How of 
mixture hy hand pressni-e on the hulh. 

The coni]iositiou may he decorated in \ai'ious ways, using 
diamond dust, flitter, dry hronze and AIR BRUSH. 

])iamond dust, flittei-s or hronzes should he "dnsted" on he- 
foi'e the cnmiio di-ies and dusted after it is dry. After use the 
AIR PENCIL should he well cleaned with hot water. 

PLASTICO FOR AIR PENCIL 

Dissoh'e 1 ])ouiid glue in 1 gallon watei'; add 2 pounds holted 
whiting, 2 ])ounds pilaster of jiaris, and 1 ])Oun(l keg lead. 

Thicken with whiting or thin with water to working con- 
sistency. 

PLASTICO No. 2 

One ]ioinid ]ilaster of ])aris, l '| poiuid dry white lead, 2 talde- 
spoonfuls of hicarhonate of soda. Mix with water to ])aste con- 
sistency; All hull) and proceed. 

Various colors can also he jD'oduced hy adding dry colors to 
the plastico mixture. 

The air pencil is mani])ulated almost the same as ]ien or 
])encil: design or lettering ])roduced hy ]»ressure on the hulh in 
hand of the o])erator. AVith ])ractice relief woi-k can lie executed 
ver}' rapidly. 

BRONZE POWDERS 

Bronzes may he had in 1 ounce packages; also in 1 and 5 
pound cans. 



14 SHOW CARD WETTING 

Obtaiiiahk' in many colors, the ^lale gold aud aluminimi beiug 
the most popidar. 

Aluiiumini should not l)e confused with silver hrouze, as the 
latter is not at all suitable for decoratiAc work on cards. 

Bronzes used for shading, underscoring and ornament give a 
card a very rich apiiearauce when iirojierly mixed. They are 
as easily applied as color. 

They show to best advantage n]>on dark grounds. 
Bronzes arc manufactured in two degrees of fineness — coarse 
or "brilliant," and "striping."" 

THE BRILLIANT BRONZES have no covering ca]iacity 
when used for lettering — they are classed as "RUBBING 
BRONZES." 

STRIPING BRONZE is ground finer and therefore has great 
covering capacity. However, if used clear for lettering it will 
have a litV'less a])])earance. To overcome this difficulty mix one- 
third brilliant bronze with two-thirds STRIPING oi' LETTER- 
ING BRONZE ground in nuu-ilage the same as any dry color. 

Bronze ])Owders shoidd be keitt in tightly corked vials or 
bottles to prevent deteriorati(^n in lustre and quality. 

Bronze (except aluminum) should not be used for ])ermanent 
outside signs. It will turn black in a very short time. 

As previously suggested, bronzes will greatly enhance the 
appearance of the most ordinary piece of wcu'k; in fact, the judi- 
cious use of gold bronze on ornament, shades, panels and letter- 
ing is to be reconnnended at all times. 

Xo cai'd shop is comyjlete without a good assortment of high 
grade bronzes. Don't buy the cheap grades. 

FLITTERS OR METALLICS 

Flitters are small l)rilliant metallic particles and cpiite effec- 
tive for accenting decorative eff(>cts on Christmas and New Year's 
cards, which shoidd be (juite ornate in character. They are applied 
per the following: 

Use a small sable ])rush and ai)])ly clear mucilage to the parts 
to be accented and do but a few strokes at a time, as it "strikes" 
in rapidly. Therefore the flittei-s should be sifted on quickly and 
the surplus dum])ed upon a sheet of clean ])aper. Proceed until 
all parts are accented as the fancy or judgment dictates. 

Few dro]is (d' glycerine added to mucilage will retard drying 
too rapidly and iiermit greater freedom in executing accents be- 
fore dro]»|)ing on the flitters. 

If two or more colors of flitters are desired n])on one card 
each color must be applied separately, repeating the process. 



i)iA.\iu-si; nrsT 15 

DIAMOND DUST 

Tliis is a material rcscnilpliiii;- (liaiiKUid dust very cIdscIv and is 
line for holida V ranis, ('an lie iisrd tn I'ldiaiicc the i;cnci-al crrccl 
of frost and sii..\\ in POSTERIZED WINTER LANDSCAPES 
and upon the top edges of letters. 
Apply the same as Hitters. 

"CUT OUT" FLOWERS 

WALL PAPER SAMPLE BOOKS will alTord an endless 
variety of tlat and emhnssed lluwers tni- card decoi-af i(ins. 

They are to he cut out with iieii knife and niduided upon the; 
card in ])Osition desired, using a good ]»liot(>-inoiniting paste. To 
attach them, follow with a few strolces of the "local" color in 
leaves of the tloral and they will have the appearanc-e of a hand 
executed liou(|uet. 

CELLULOID 

Transparent celluloid can he [i>^c(\ effectively for creating 
transi)arent hackgiounds in circular and oval openings cut out 
of main card. ^Mounting a cut-out fashion figure u))on the i-ellu- 
loid will give a nni(|ue and novel effect. 

Blount the celluloid upon "hack" of card. Figures cd' Hying 
doves and birds can tlnis he shown i-ealistically. 

WALL PAPERS 

Many patterns of wall jjaper lenil themselves readily to odd 
panel shapes. Can he cut out quickly and mounted u])on main 
board. 

ENAMEL AND IMITATION WOOD AND MARBLE 
WALL PAPERS 

Are thin pa]»ers and when mounted u])on card in artistic shapes 
also i)roduce novel creations that mark the ])roducts of your hrusli 
as distinctive! \- dilTerent from the "othei- fellow's." 

CUT-OUTS— FIGURES, ETC. 

Xewspa]»ers, magazines, lithographs afford an endless variety 
of Hgures that can be "Hied"" and "cut out" when desired. Should 
be used appropriately and not indiscriminately. 

RAISED PANELS 

Raised ])anels ]n"oduce very artistic cards. The ])anel should 
be in harmonv with the "matt" or main card — dark red on light 



16 snow CARD ^^'K1T1N0 

I'L'd, deep yray on l)laek, deep l)lue on liyht blue, deep PURPLE 
on lavender. Panels may be ornamental or plain, and embellished 
in bronze ornament or color. 

BLENDED GROUNDS 

There are many ways of producing "blends." The air lirusli 
is the most suitable for very tine effects. 

A -very hue ))lend can be produced by using dry colors or 
soft pastels. 

A CHEAP BOX of Pastels can he obtained at tlu- art 
store and will suit all urdinary simple blends. 

Eul) the i)astt'ls or dry color upon surface and "soften" the 
desii'ed "color values," using compressed wad of cotton. Rub 
briskly and sto]i when desired effect is reached. 

Do not attempt a blended ground upon a "glossy" or gloss 
coated card; use tlie "dull surfaced" or luico.ited c.ird. The sui-- 
face of a card for blending nmst have a "SLIGHT TOOTH," and 
it natiu'ally follows that the card must be white. 

Aim to render the blended effects in tlelicate tints — not too 
strong or too low in color key. 

SPATTER WORK 

Spatter or sti])])le effects ru-e (|uite novel if rendered carefully. 
The operation is A'ery sim]»le and adds very materially to the card 
writer 's reiiertoire. 

Panels of lace curtains, silhouettes of olijects, such as leaves, 
fruit, heads, etc., may be used and kept in i)osition on card by 
laying card flat and weighting the desired "mask" with ])rinters' 
leads. To spatter ex])osed s])ace on card select an old worn tooth 
brush, charge Avitli thin water color and ruh vigorously back and 
forth on \)icco of wire window screen (which has been ]a-eviously 
tacdvcd to light wooden frame"), and held at agreeable distance 
above the work. A little ]tractice will demonstrate. 

After s])attering embellish with lines, ornaments or in any 
manner suggested by the individual taste of the letterer. 

SOAP LETTERING ON MIRRORS 

Cut strip of conuuon laundry soap into wedge slia])ed "sticks" 
or soap crayons. Use in same manner as flat brush or pen, using 
considerahle pressure. 

Clean glass thoroughly Itefore beginning the work. SOAP 
LETTERING, in combination with water colors for embellish- 
ment in the form of scrolls, floral pieces, etc., is in frequent de- 



Olv'XAMKAT, l',<)K>l)EHS AND BCROLLS 17 

maud; dnii;' stores, Sddn roiiiitiiiiis ;iiid hai's I'.-nni' this class ol:' 
aunoiincc'iiioiit. 

ORNAMENT, BORDERS AND SCROLLS 

On (■(iiii|iarat ixcly siiiiplc cards all uniaiuciit sliduld lie sul)- 
ordinate to the iiisci-ipl inn in cdldi- \aluc: cnilx'llisliniciit can he 
yoi'v ornate as to design .-md if I'cndci-cd in siihduc(l i-ojoi- will he 
foiuid \-('i-y a^fccahh'. 'This rnic will apjily to iicacl ically all styles 
of amionnccnicnt cards. llo\vc\cr, it lias hccii agreed that the 
iiitelligviit and artistic nsc of oi'iianicnt, and any form of cmhcl- 
lislmicnt, rests with the indix'idnal, and thei'e is in reality no lixcd 
rule that can he applieil except in a \'ei'y nciieral way. 

OVERPOWERING DESIGNS 

Overpowering' designs are designs that are yt'vy ornate in 
character and (piality, in which lettering panels aic ci'cateil in a 
subordinate or secondary degree, anil when lettered ai'c classed 
as high gradt' and conservat i\'e; in fact, wry dignilied and x'ei'y 
exclusive. 

LAYOUT 

"Layout" in lettering is the i)rinci])al fundamental in\-olved. 
jNIost beginners ai'e ]ii'oiie to '■cover"* oi' scatter lettei'ing eidirely 
over a given s])ace and are contined only I)y the "edges" of the 
space. 

This is at once the most offensive erroneous ei-roi' that can 
he made. 

If the beginner will sto]> and study the best examples of pi'int- 
ing in catalog and geiiei'al display coni])osition in iiewspapei's and 
]iei-io(licals it will be noticed that the conipositoi- has ci'cated 
plenty of margin and white s])ace. 

Lettering will be found to be balanced in tlie sjiace thus 
created and conse(|nen1ly hxiks well. 

The same I'ule ai^plies in cai'd writing and sign iiainling. 

The inscription should be "well centered," and it is almost 
inipjossible to go to extremes in this l-eS]iect. 

The wider the margin the better the card will look in the 
majority of cases. 

And also bear in mind that a small letter with ]ilent\- of space 
surrounding it is more conspicuous than a large letter unless 
similarly handled. 

LAYING OUT INSCRIPTIONS 

Regardless of the style of executi*m card signs should always 
present a dean, tidy ait]H'arauce. 



18 SHOW CARD ^\'K1TING 

Oil (juirk knock-out cards nothing is more essential than the 
precaution of kee})iiig the card clean. For this very good reason 
the inedinm employed in "layout" should be of a substance easily 
removed from the surface after it has served its purpose. 

For \Yliite and light colored cards Artists' French Charcoal 
is suggested. (Sharpen to fine point ujion saii(lpa})er pad: lines 
and lettering should be indicated very lightly and faintly — after 
lettering is dry the charcoal can be removed with few quick 
strokes from a feather duster. 

For dark cards use white school crayons. *Sliarpeii to point 
with pen knife, dip in water and withdraw quickly. It will then 
make delicate neat line, I'eadily erased with tlu' sponge rubber, 
without injury to card surface. 

8-H (hard) lead ])cnci]s may be employed if careful to avoid 
pressure. Ajiply lightly and do not use pencils upon glossy card 
surfaces. L^se liglit jtrcssurc charcoal. 

CORRECTING ERRORS 

Errors in cai'd writing are l)Ound to occur and are annoying 
and exjK'iisivc. The best way to avoid mistakes is to render 
the layout fully; cafcfully read liefore ]>roceediiig to "letter" 
the card. This will only (iccu])y a minute oi- so and will reduce 
to a minimum the jxtssibility of several mistakes each day in your 
card shop. 

Errors are rectified per following: 

On white cards scrape out letter or letters with sharp pen 
knife or ink eraser (steel ])oint). Do not ijenetrate lielow the 
glazed coating. 

When color is entirely removed, rub the scra]ie(l surface with 
piece of line sandpaper, after which ])()lish with knife handle or 
thumb nail. 

Error on dark glazed card mav be removed bv passing DAMP 
CLOTH ..r DAMP CHAMOIS SKIN (must lie done quickly) 
ovei' coldi- t(i be removed — must lie vigorous and quick stroke 
to avoid disturbing the glazing of the card, which is also water 
color. 

On tinted cards after scra])ing out the color, it will be found 
necessary to "match up" the ground or color of the card. How- 
ever, it is quicker and better to "coat out" the entire line of 
lettering with a dark color and create a panel by so doing. 

Follow by re-lettering in white or tint color upon the dark 
panel of color. 

This in most cases adds to, rather than detracts from, gen- 
eral aj)pearance of the card, and looks intentional from the start. 



REMOVING PENCIL :\rARKS AND DIRT 19 

REMOVING PENCIL MARKS AND DIRT 

Dip siioiigL' lulilii'i- ill pdwdcicd puiuicc stone and ci'asc marks 
and soil sjiots. 

AVipr greasy sjxits caused liy ]>ers]iirati()n t'l'oni hand witli 
solution of biearlionate of soda, t liiniMeful to talilespoonrnl of 
water, or mix soap water with the cohir. l!oth are elTeetive. 

CARD ALPHABETS 

Signs may he properly divided into two classes, viz.: the 
"temporary" sign and the "permanent" sinn. Siyns of a tem- 
porary nature command little remuneration as compared with 
tlie permanent kind. However, the profit fi-om the tempoi'ary 
sign in |)ro])ortion to outlay of time and material usually exceeds 
the jirotit from the permanent sign. 

All temporary signs, including cards, are termed "cheap 
signs," i. e., signs costing little money, which follows that the 
quicker they are executed, the greater the protit. 

This a]i])lies to all kinds of signs; and when it is consid- 
ered that the sum received for an equal amount of woi-k on any 
other surface is four or five times greater than that received for 
a card, it can readily be deduced that speed is the most vahtable 
attribute. For this reason, car<l writing aljihabets should be 
carefully chosen. 

The bi'ush sti'okes should be reduced to the lowi'st minimum. 
Evei'v stroke re(|uires additional time, making it al)Solutely essen- 
tial that the style or styles enqiloyed should be those carrying 
the least nunibei- of sti-okes. 

The Round Block and Tuscan Round Pdock. and modihed 
styles derived from them, lend themseh'es easily to ra]tid exe- 
cution via the "single-stroke" method. "One stroke" does not 
imply that the entire letter can Ix' executed with one stroke. 
This would 1)e a ])hysical inqiossibility. It implies that each 
individual part or composite of the letter can be executed with 
one stroke. 

For exanqile, the letter "A" can be executed in three strokes, 
if the "Egyptian" or "Plug" style is used; one stroke each for 
the side or oblique strokes, and one stroke across for the hori- 
zontal stroke. This is the full meaning of the term single stroke. 

Now take the Fidl Rlock (square), and to execute the let- 
ter "S" seriously requires just twenty-eight strokes; in the 
Egy])tian oi- "Plug" style (single-stroke method), it reciuires just 
three strokes; to execute the Egyptian "S" in serious stylo 
would require eight strokes. 

This naturally ])laces great emphasis upon the importance 



20 SHOW CARD WRITING 

of using "speed styles" and those that adapt themselves to single- 
stroke execution. 

Referring to the foregoing, it is necessary to add that no 
piece of work should "carry" exclusive single-stroke styles. 

Never execute an entire inscription in a single-stroke style. 
The Display or Feature Line should be a tinishcd style, except in 
Motto inscriptions, which may be rendered in Old English or 
Bradley Text. 

Also bear in mind that on card work a tinislied line of letter- 
ing in conjunction with single-stroke styles will always "carry 
well" and present a neat, attractive appearance. 

"SPEED ALPHABETS" 

Following is a list of al})hal)ets that are known and termed 
"single -stroke" alpliabets. 
Modern italic. 
Modern Full Block. 
Bradley Text. 
Heavy Script. 
Italic Script. 
Old English. 
Tuscan Block. 

FINISHED ALPHABETS 

Egyptian, Antique Roman, Modern Italic. 

These thri-e st>lcs should be used exclusively where a "fin- 
ished" letter is re(|uired. 

"Finished" in this sense means just what the word implies 
■ — i. e., a letter that is formed and proportioned, showing all details 
and characteristics, omitting none of the component parts, or 
in any way abbi-eviating the execution, which is so compidsory 
in one-stroke work. ^lost every insci'i]ition contains one or more 
lines or woi'ds that should l>e ])rominently dis]»layed, and should 
in most cases he executed in finished styles. 

The ])rincipal reason for this rule is, that a correctly or 
seriously tinislu'd line of lettering or words will give a ra])idly 
executed sign a touch of dignity and redeem it from an other- 
wise ordinary ])iece of work, therefore making it almost needless 
to say ''that it is imperative to master correct formation and 
execution of the styles known as 'Finished Letters.' " 

LOWER CASE 

Apropos of the foregoing, and in connection therewith, will 
sav that Lower Case Lettering should be used almost exclusively. 



MODKRN FULL JiLOCK 21 

Tliis should be liiinic in mind constantly. A cai'd Icttci'cd in 
lower case is nni'-h more intcrcstini;-, and incidcnlally it nnist he 
niciitiiincd that they can he cxccntcd mnrc j-apidly in most ol' 
tlu' styh'S rc<-onnncn(h'd; also note how nnicli hcttcr lower case 
will I'cad than n|i|ici' case, whicli is the most cliiicliin<;- ai'L;-nnicnt 
in I'avo]' (d' lower case. 

Modern Italic (Lower Case) 

A ])raetical and ai-tistic lettei' that meets with all speed 
i'e(inireme]its. Oi'i^inated hy Mi', ('has. -J. Stronu'. l''onnder of 
tile Detroit School of Letterinii', and for many yeai's a cons]iicn- 
ous fi,i>-ure in Sign Painting Circles in ('hicago and other large 
cities. 

The aljilialiet is a comhination ol' Italic and Fnll Lhxd-;; its 
fullness of stroke is (diai-aetei'istie of the Fnll IMock: the slant 
and genei'al contour is that ol' the Italic. It can Ite executed 
with Fewer strokes than any k-nown one-stroke style, with tlie 
exception of the Kegidar Italic Scrijit. 

AFastering this style i)re])ares yon for all speed emergencies 
that might arise in youi' daily woi'k as a Professional Cai'd 
Writer. 

MODERN FULL BLOCK 

jNlodern Pull lilock will answei' for capitals in conjunction 
with Moflern Italii-. Never use them in a woi'd entirely Upper 
Case, foi- the I'eason that they carry ornate features that unlit 
them for full words; however, they can he used as "starting 

letters." 

Modei-n Italic (u]>pe]- ease) is the natural capital for Modei'n 
Italic (lower case), and should he so used in most cases. 

BRADLEY TEXT 

This ali'liahet is extrenudy modern, and can lie truthfully 
called "Abbreviated Old English," as it was derived from the 
Old English Al]ihahet, designed hy Will Bradley, a famous Amer- 
ican Decorative Artist. It is very handsome, and apjiropiriate 
for any ])art nf an inscriyition, except display lines, and in some 
cases even displa>' lines, using "Pradley" throughout. 

Executed rajiidly with either pen or Hat lirnsh. 

Should at all times 1ie used upper and lower case; never 
comhine the capitals of this alphabet. It a])plies to all letters 
more or less eccentric in form. However, c(nnbining the capitals 
of the standard styles, sudi as Full Blocdv. Half Block, Poman, 
etc., is not onl\- lei;itimate, but customarv and advisalde. 



22 SHOW CARD WRITING 

HEAVY SCRIPT 

Hcav.y Script is eiii])loyed to good advautage in displa_y lines 
or words, especially if the words are short. It is a one-stroke 
style, and with the proper brush can be executed easily if the 
"swell" pressure is exerted; in fact, the same movement is used 
when writing with a S^ienceriau pen, except that the movc^nient 
is not a continuous one. Form the composites of the Script with 
individual single strokes. 

Never overdo Script on a card luilcss in the serious S])en- 
cerian Style, in which case the entire inscription may lie in Script. 

The Tailoring Business is very partial to "All Script" inscrip- 
tions, and, as suggested, it is best to use Spenceriau or similar 
light-face Script. 

Italic Script 

Italic Script is in reality half-script, derived from Standard 
Spencerian Script. The curves, flourishes and connecting strokes 
of Spencerian Script are al)sent in Italics. 

('a])ital Italics ai'c condensed l\oiimns, slanted in harmony 
with tile Lower Case Italic, italic Sci'ijit is not suital)le for any 
part of an inscription, excej)t subordinate lines — i. e., the second- 
ary portion of the "co2>y." 

OLD ENGLISH 

Ohl English is a flat brush or pen style, and in the one-stroke 
list; suital)le foi' "disjilay heads" or entire inscri])tions; very 
classy and dignitied. 

TUSCAN BLOCK 

Tuscan Block is a splendid one-stroke letter if formed "light 
face" (not too heavy); very speedy on account of predominating 
curves. You will note the components are all variations of curve, 
with exce]ition of vertical strokes, and the "diagonals." It is 
used with great frequency by the sign painter, and, as suggested 
above, is splendid if executed in light-face stroke. 

FINISHED STYLES 

Antique Roman.— Space permitting, it is a fine style for 
"displays" on cards. It cannot be successfully condensed; nni.st 
be as nearly normal in ]»roportion as the space will ]X'rmit. For 
a finished style it can ])e executed quite rapidly without detri- 
mental effect. 

The vertical stroke (l)oth sides) is first executed; follow with 



NUMERALS 23 

the liorizoiit.'il stroke, niid lastly add the spur strol^cs. The Red 
Sable Rigger is the iiidst siutablc brush for Aiiti(|iic U'oiiiaii. 

Egyptian Alphabet. — it is i)ossililc 1o rcmlci' tiiis st\lc in a 
tiiiislicd luaiuicr by the ouc-strokc lucthod with a i^-ood brush ha\'- 
iiiH' a scjuai-c point which will admit cxtrciiiit ics bciiii;- executed 
without recourse to a(hlitional strokes to "(dean'" them and removt; 
ra.n'ned edncs. 

A \cry aL;i'eeabh' style, if not too hea\y in stroki'; if too 
lieavy, it will look (dumsy. 

NUMERALS 

Linht-i'ace K'ouian, heaxy-tace lionian and modilied " h'l'eiKdi" 
are all s)»lendid b>r i)i'ice ti(d<ets and ALL NUMERALS in Cai'd 
AVritin,--. 

ART OF LETTERING 

Jn the ai't ol' h'ttei'iuL;' we have no fixed I'ules; the law is 
based eutircdy upon ap])roximates. With the laity, or jK'oph' 
outside of the pivdVssion, the supposition is that all lettei's are 
the same size, tornied on inathematieal lines. Nnthint;- is farther 
from the truth. All letters are the same size in ai>iiearance. and 
ai'e so rendered by the ]n"ofessional, whose trained eye and exi)e- 
rience dii-ect -which letters are to have normal spa<'e and those 
that miist occupv MORE SPACE and those that must occujty 
less SPACE. 

It is thus that the |>leasini;- unifoi'mity of size is pro(hice(l. 

COMPOSITION 

r"omi)osition in letterinii' is almost too intan^ilile to define 1)V 
ANY RULE. 

All the mathematical fornnda' ever o-iven on the subject are 
inea])able of e(|ualin<;- the result that nia.\' be obtained by si)acina; 
and producing' the effect solely fi-om artistic ex]ierience and intui- 
tion. The final I'esnlt should always be judged by THE EYE 
(no tools of measurement eni])loyed at all), wliich iinist be ti'ained 
nntil it is snsceiitible to the slightest deviation fi'om a ])erfect 
whole. 

Tt is nioi-e difficult to define y-ood com])osition in letterini;- than 
in "paintint;-"" oi- an\' other of tlie more j4'enei'ally accepted arts, 
and it resolves ba(d-; into the same prolilem. 

The eye nnist be ti'ained b\- constant stndy of ,t;'ood and pleas- 
ing- forms, also pro])orf ions, nntil it a])]>reciates instinetively 
almost intangible mistakes in s]»acinu- and general arrangement. 

This question of :'om})osition is so im])ortant tliat an inscri])- 




j) 



^ 







^ 



,.r) 



SHOW CARD AVRITIXG 

tioii of most beautiful individual letter forms, 
badly spaced, will not produce as pleasing an 
('('t'eet as au arrangement of more awkward, 
liadly proportioned, poorly executed letters, 
when tlieir arrangement or layout is good. 

Any professional sign writer or designer 
will tell you that a good "la,yout" (good com- 
position) is the most essential thing in pro- 
ducing good examples of sign art. 

This (juality has been disregarded to such 
an extent by man}' beginners, and even men 
far advanced (so called because of time spent) 
ill the profession, that it is of vital importance 
tlie ambitious student's attention be directed 
to it with great emphasis, in order that he 
may give the subject of composition serious 
consideration from the very start and con- 
tinue to keep it in mind for all time, for the 
Acry good reason that there will be no time in 
his career that its importance can l)e under- 
estimated or neglected without serious injury 
to his work. 

SHADING 

Sliading is iised to cause letters, scrolls, 
etc., to appear in relief, or to appear xirojected 
or raised from tlie background, and is the 
most important auxiliary of lettering. 

The snl)ject of shades and shadows are di- 
versified, and either of the examples shown 
can l)e used at the will of the letterer. 

Shading to the left and on the bottom is un- 
\\ritten law in signpainting, and is usually ex- 
ecuted at aliout a forty-five degree angle, it 
being assumed that light falls upon the letter 
at this angle. 

On the round letters, C, D, B, G, J, 0, P. Q, 
S, IT, &, 3, 5, 6, 8, 9, it is a common, unjusti- 
fiable error with many to crowd the shade ex- 
tremities beyond the points of limitation, 
with the bad effect of making the shade a]»- 
|)ear clumsy and distorted, and failing in the 
■jji-imary object. Figure 4 shows the incorrect 
method to which reference is made. 



SPACING 25 

All letters must he shnded on the same allele, and ex'ei'v char- 
acteristic must he indicated as at "a," J^'ii;'. •"), and every part of 
shade should he of e(|ual width on all lettei's, e.\ce]>t Ihe round 
letters, whereon Ihe shade reaches the extreme width only at the 
point shown at "a," l'"ii;-. 4. 

On letters A, ^', \'. W, M, the shade is narrowei' in width on 
the diascinal "letter strokes" that are atfected hy the shade at 
a forty-hve decree anisic. 

On ordinai'y work and Card Writim;-, the relief shade is 
most connnonly used, as it ])ermits of (]uick execution, and in 
most cases is rendered in single stroke, usint;- a hi'ush lliat will 
accommodate itself to the width of the shade desired. 

A\'here exti'cmities of letters are close together, the stroke 
can he left disconiHM-ted, wliicli liherty is legitimate and ])ei-nhs- 
sihle, esjieciall}' on cai'd work. 

On the relief shade leave "relief space" quite wid( — i. e., the 
SY)ace hetween the edge of letter and inner edge of shade; it gives 
the letter hetter em]»hasis and is more professional. 

SPACING 

A line of lettering on any surface, no matter what style, must 
have a starting point and a stopping i)oint. These two ])oints 
are a matter of taste with the workman and ai'e not "permanently 
established" until a rough layout of the entire inscription is made, 
this is to he reiidei-ed VERY FAINTLY in chalk chaivoal (.r 
pencil, to jiermit of repeated correction and alteration, if same 
is found necessary. 

The governing factor is the rule that a lettei' cannot he con- 
densed or elongated to the ])oint of distortion, however the lati- 
tude is very wide in hotli extremes l)efore reaching distortion, 
owing to the many and vai-ied modifications of the staiKKU'd fixed 
styles noi'inal in iirojiortion. Hence the taste of the workman 
can he exercised to ahnost an unlimited degree in <-ondensing and 
elongating. 

Never condense a letter more than 3-5, and never extend or 
elongate more than y)-o. 

Xo matter h<iw long a sjiace is, when it is to carry a short 
word, never extend lettering more than 5-5 — which would create 
a "letter space" 5-5 high l)y 10-5 wide. Take away sufficient 
space from each end of space so that the lettering will approxi- 
mate itself into 10-5 spaces, with good proijortionate space lie- 
tween letters. 

"Space" hetween letters must l)e proportionate and not dic- 
tated 1)V anv mathematical rule, the sole intent is to (Mjualize the 



26 SHOW CARD WRITING 

opeu or blank space between letters, produeiug a pleasing effect 
of approximate space, incidentally compelling the word to read 
solidly or in comi^aet fonn. If this rnle is not carefnlly observed 
you will frequently execute words that will have a "scattered" 
effect, In-oken into syllaldes, or one or two letters having the ap- 
pearance of sei^arating themselves from their fellows. 

All roimd letters should l)e spaced a trifle more closely to 
each other (such as C, J, CI, 0, and Q ) and the full space letters 
such as B, I), E, H, K, M, N, R, U, S, X. Z nmst be allowed more 
space between them. All "open" letters, A, F, J, L, P, T, V, W, 
Y, must be spaced -^'ery close, owing to their open spaces. 

In order to get the appearance of uniformity throughout a 
line of lettering it is necessary to observe the following: 

In normal or square space lettering divide letter space into 
fifths, five squares high, and five squares wide. For A add 1/5 
to width, B nonnal, G normal, D normal, for E 1/2 of 1/5 less in 
width, F 1/2 of 1/5 less in width, G normal, H 1/4 of 1/5 less in 
width, 1 1/5, J 1/5 less in width, K normal, L 1/5 less in width, M 
add 1/5 to width. N 1/2 of 1/5 less in width, O add 1/2 of 1/5 to 
width. P uomual. Q add 1 2 of 1/5 to width, R normal, S normal, 
T normal in Full Block. Tuscans, and Romans, and practically 
all styles except EGYPTIAN, where it is 1/2 of 1/5 less in width. 
U 1/4 of 1/5 less in A\i(lth, Y add 12 of 1/5 to width, W add 2 '5 
to width, X normal, Y add 1/2 of 1/5 to width, Z norm;d, &e. 
normal. 

Same increase and reduction nuist be oliserved in elongating 
and condensing, and in condensed lettering the reduction of L, 
E, F, H, J, N, and T may be highly exaggerated without detri- 
mental effect. Quite the contrary, the effect is iJeasing and 
highly proper. 

On "full face" lettering, viz: Full Block. Half Block, Round 
Block, and Tuscan Block, draAv all horizontal strokes one minor 
fifth less in width than vertical strokes. 

If this suggestion is not ol)served the horizontal strokes will 
a})]teai' clumsy or larger than the vertical strokes, although in 
reality they are the same size. The foregoing suggestion will 
overcome the delusion and will give the letter an interesting and 
pleasing contour. 

MAJOR FIFTH AND MINOR FIFTH 

A normal letter sj»aee is square, subdivided into twenty-five 
smaller or "unit" squares, making a letter space five major fifths 
high and five major fifths wide. Now, if we subdivide one major 
fifth or unit square into fifths, we have minor fifths. 

Major and minor fifths are used in an elementary wav to 



COLOR COMBINATIONS 



27 



assist in fixing- o-o,,,] aii])ruxiniate proportions in letter form, must 
positively be abandoned as soon as the student is (lualified to 
draw and form lettei'ini;- without tlieir assistanee. 

COLOR COMBINATIONS 

"Where coloi- is used t'oi- letters, lines, etc., Mark oi- dark 
coloi's should ])(■ used u]M)n white or liiiht cdloi-ed i^i'duiids, and 
vice ^-el'sa. 

In usinu- cohu's sreat cave sliould l)e taken to have tones liai'- 
nioiuze ai^reeahly, for exam])le: on dark ij-i-een ground use white, 
on lemon }'ellow tint, oi- on ]iink tint ^i-ound use black oi- deep 
red, dU (lee]i blue use white, pale Itesll tint ol" ]>ale l)lue tint. 

A\dien nioi'e than one color is used the following comliinatious 
will he found valuahle. 

TRI COLOR NEUTRAL 



IlACK.niO 


•ND — 


Lettkr — 


SllAliK — 


Selicil I 


niiiik 




White 


Hark gray 


Harkgra 


r.la.k 




Light gray 


While 


Harkgra 


Whil.- 




Blai'k 


Light gray 


Medium ;. 


Wliiti> 




Cray 


niaek 


.Meiliiirii •_ 


LiRlit gray 




Hhick 


White 


r.laek 


Dark gray 




White 


Blaek 


lllaek 



liiirtDEit — 




)>\^i.., 


Me.lium gray 




rale gray 


Hark gr;.v 




Medinin gray 


.Me.liiui! gray 




I -ale gray 


Illa.-k lin.' 




Dark gray 


Hniihl.^iihlekline 


ine 


^refli^m gray 


I'ali' gray 




lUa.k 



If softer contrasts ai'e desired on c:ra\- grounds, use ycvy light 
or very dark grays instead of lilack or white. 

WARM COLOR COMBINATIONS 



('■itniNi) — 
Red 

Deep red 
Yellow 
orange 
Maroon 
I'ale bu£E 
I'ale yellow 



SllAIiK 


_ 


Scroll — 


Maroon 




Maroon 


Carmine 




Vermilion 


Orange 




Orange mineral 


Yellow 




Li-mon tint 


Blaek 




Maroon [.ink 


Medium 1 


Miff 


Vellnw ,.,hre 



I'ale oM g.ii.i 



EllUIiER 

Deep red 
\'erniilion 
I'ale olive 
Medium vello 
Old gold' 
White 



I'.hi.k 

Medium idd gold 
Medium old gold 
White 



GROUNrv- 
Mpdiuin hh 
Dark hlue 
Light bill.. 
Dark green 
Medium gr 
Light greei 



COLD COLOR COMBINATIONS 



Me Hum gre 



rale blue 
I'ale hlue 
I'ale grie 



To strengthen contrasts in cold blues or greens, use black 
and white for lettering instead (<f very light or very dark color. 

STRONG CONTRASTS 



fjROlNIl 

Light green 
Medium yellow 
I'ale pink 
Black 
Ked (deep) 
Deep purple 
Olive 

Deep olive 
Warm ehneolatf 



Letter — 


Sll VI. 1-- 


Blaek 


Ifed 


Blue or black 


Willie or orange 


Maroon 


Vermilion 


White 


i;ed or orange 


White 


Black 


White 


I! lack 


Light yellow 


Tuscan red 


I'ale green 


Black 


I'al.. y..l|..w tin 


Tuscan 



shad.. 
I.urpl. 



r..U!lu:R — 




PAXEr,— 




:r..(.n lint 




Red 




irange 




Old gohl 




i....piT pink 




D....p r..d 




'al.. gn...n 




It.'d 




M.'dium r..d 




Bla.k 




\1. -.1111111 ..1.1 g 


.1.1 


Mi'diiini blue 


green 



28 snow CARL) WKITIXCJ 

ELEMENTARY COLOR MIXING 

In this table tlir tirst color named is the base, and should be 
used in the greatest quantity. The cdldis following should be 
added until desired shade or tone is reaehed: 

Yellow and blue produce green. 

Yellow and red produce orange. 

lied and blue j)roduce purple. 

Red. yellow and blue produce citron. 

Yellow and black produce olive. 

Red, yellow and black i)roduce russet. 

Yellow, black and red produce l)rown. 

Red and black or l)]ue pi'oduce maroon. 

White, red, yellow and blue ])]-oduce neutral gray. 

"White and blue jtroduce light blue. 

"White and red jtroduce \)\nk. 

White, yellow and red jtroduce flesh. 

"White and yellow jtroduce cream. 

Yellow, blue and red jUdduce brctnze green. 

Blue and red jtroduce violet. 

White, black and I'ed jir(tduce lavender. 

Rich tones and shades may Ite c(tmjtounded by adding to the 
f(treg(ting ojtaque colors, such transjtarent c(tl(ti\s as Iturnt sienna, 
Itui'ut mnber, carmine, olixc lake, ultramarine Itlue. turkey red, 
red lake, emerald gi'een, etc. 

F(tr exjtcriniental c(tl(tr mixing take glass slab and nndler 
(with jtalette knife foi- jticking ujt c(tl(tr), als(t small jiair of beam 
scales. 

First series of exjtcriments is to obtain tints of the various 
colors Ity reducing with white. 

Take in turn each of the ordinary c(tloi's such as Prussian 
Itlue, medium chivtuie, yelhtw. ivory black, yellow (tchre, Indian 
I'ed, \'enetian red, tui'key red, medium chr(tme, green and light, 
English vermili<in. 

Weigh out of each a very small jtortion, j^lace them sepa- 
ratel\- (tn the slab, then weigh out 10 jtarts of white, add it to each 
and grin.d thoroughly. N(tte the effect of adding the white, h<tw 
in some cases the color is very materially changed, while in others 
it is not altered to so great an extent. 

You will also note that in distenijier color the tint when dry 
is nuich lighter or higher in color value. This must be noted 
carefully when mixing ojiaque water colors, esjiecially when mixed 
with whit(\ 

Having done this a small j)ortion of each color may be jviinted 



KT.E>rK\TAlJV COLOIJ MIXINTi 



29 



on n card, the piii-c cdloi- and the tint side hy side (lie sui'c tn add 
the iiiiii-ilatic to liiiid ), and a I'ccord n\' the prdportiuns used. \'ai-\ 
l)y takiiii;- (miiuiI |iai1s of white and cnhn-, wlicn i1 will he I'diind 
that thci-c is colli] i;ir;iti\('l\- little dirt'ereiice. and then 20, :!() and .10 
])ai1s of white l'es[iecti\('ly. 

'Phis will I'onn a iicniianeiit recoi'd of the effect of white 
when added to the difTereiit colors, and we ad\ise the liei;'iiiner to 
lint and record e\cr\' color ohtainahle, and the "color cai'ds" and 
]-ecords thus made placed on lile for I'efereiice. I^'oIIowIhl;- this 
the slndeiit now arri\('s at the admixture of cohn-s. and followiiii;' 
the same jiian as Ixd'ore we take one color and add it to anothei- 
color or coloi's. 

It is well to classify the colors under tli<' different heads, 
such as reds, yellows, blues. L;reens, ln-owiis, etc. Yet it must he 
considei-ed that one sei'ies of colors nier^'es into another. l''oi' 
e.\ani|ile. we \\:\vc a jnii'e hlue in the shajie of Prussian blue, and 
to this may he added nioi-e or less I'cd until it heconies a ]iui-]ile. 
o]' nioi'c or less yellow until it becomes a t^n'eeii. 

Thus we have liluish i^reeii or ^'I'cenish blue. a<'coi'(lin<i; to the 
color which jiredominates. 

Starting- with the I'cds. take a normal brit;-ht I'ed. such as 
(|Ueen"s red, and experiment with it by addini;' small portions of 
dilferent yellows, then different small iiortions of various blues, 
then by adding' a very little blue and yellow to tlie red, and notice 
h(tw the tone is lowei'ed witliout iiroduciiii;- anythint;' of a muddy 
ajppearanci'. Try also the effect of adding' a little black and note 
the ditt'ei'cnce. 

Xext ex])erim('nt with the more sombre reds, takint"' Venetian 
rod and Indian i-ed as standards and adding- reds, yellows and 
bines and various colors to them to net different effects. 

'^I'he stud\' of I'eds slionld occupy several weeks at least, and 
at the end of that time the student will lia\e ^aine(l xrvy valuable 
information whi(di will be of life-louL;- ser\-ice if hied for refei'erico 
and eventually memorized. 

(ireens are as intei-estinc as any ]iortion (d' color study be- 
eanse of tlu' gi'eat vai'iety (d' hues obtainable. 

Starting' with Prussian blue and medium chrome yellow, 
e(|ual pai'ts, note the bi'illiancy (d' the !;re<'n tlius ju'oduced. Then 
try lemon yellow and n<ite how much more xnid it is, using the 
vai'ious yellows complexed with reds, umbers and the siennas, 
a never ending list of })leasing greens is o])tained. 

.Make a note nnder each sample stating the I'elative ])arts of 
the admix tui'c. 

Hang the color chart in sho]i for reference at all times. The 



30 SHOW CARD WRITINCI 

fact of liaviug actually made the admixtures will iu itself impress 
some of the effects upon the student's memory, and by referring 
to the chart fre(iuently, will eventually al)Soi'l) the entire system 
of producing "color." 

The foregoing may at first appear al)surd to the ])rospective 
card writer. However, it is well to liear in mind that the more one 
can do with "color" the greater claim one will have to recogni- 
tion, and a full knowledge of color l)rings its own reward and is 
as important as the skill required to produce a "card." 

PRACTICE WORK 

For practice woi'k, ])rovide yoiu'self witli medium grade of 
Manila wrapping pa])ei-. 

When vou ])racti<-e the various styles most suitalde for card 
writing and temixii'ary woi'k, such as oilcloth signs, l)anners, vie, 
remeiiiher that card writing is not presiuned to be executed with 
the careful attention to detail that is required for permanent 
sign work. However, it must not be presumed that this means 
careless, shiftless handling, and ihcve n\v several terms used l)y 
judges of good lettering to exjiress tlicii- apin-oval of work that 
comes to their notice, among which might be mentioned "dash." 
"s]ia]i," "nifty," "classy" and chai-nctcr. The hrst four terms 
mean practically the same thing. 'J'he last is easily surmised; a 
letter without character means a shabl)y, slovenly or amateurish- 
looking affair, with long and short s]mrs or their absence on some 
letters in the same line, deformed, too thin in the heavy strokes, 
and vice versa, badly proportioned, and sliowing lack of knowl- 
edge of the style attempted; in fact, it could l)e termed "almost 
a sign." 

A letter, to have the first mentioned attributes, must look 
bold, stand erect, be graceful and "])ure" in style, and have the 
look, dash and "swing" of the professional. 

"Professional lettering" is always interesting, more so than 
"ty])e forms"; the absence of "swing" and the exact and pre- 
cise pro])ortious of "tyjie" make them appear "machine-made." 

Stiff, rigid lines are absent to a large degree in "hand let- 
tering," even that which is executed seriously and pronounced 
"perfect." 

The "snap" and "dash" referred to can only be ac(iuired 
through diligent practice with the ])rush. 

Try to cidtivate "dash" and "swing" from the start; 
endeavor to maintain "])urity" of style, and do not feel satisfied 
imtil your work will "class" and hold up with the "other 
fellows." 



AUTOMATIC BRUSH 31 

Circles 

Circles may l)c "brush drawn" with lartic wooden com])ass, 
regulatiou drafting- iiistiiiniciil with cxtciisioii bar, or with loo]) 
of eomnion twine. 

The l)cst and (|iii<-kcst method is the twine and "AUTO- 
MATIC BRUSH." Drive nail in center of circle and tie fnll 
loo]), hair the diamctei' of the cii'cle, in the twine; pass "loop" 
over nail, insei-t brush (jnst aliov<' hi'istle) in othei' end of loo]), 
brush })reviously "charged"" with coloi- hy "stomjiini;-" upon 
palette. Hold hiaish in a xci'tical position, draw loop "tant" and 
forge ahead on a continnons sti'oke nntil circle is complete. 

AUTOMATIC BRUSH 

Take any size Hat bristle hiaish, unchiseled; hind with ])ie('e 
of thin tin or brass, leaving the bristles exposed three-eighths of 
an inch. Charge, by stomping in color laid on a jialette; use in 
same manner as carpenter uses his ]iencil against his rnle. in 
this manner a stripe can be drawn in coloi' fnlly twenty feet, uni- 
form and clean, as (|uickly as the o])eratoi' can walk backward. 
This is the bi-nsli (if small size is nsed ) for "circles" on cards. 

Lines Without Straight Edge 

Use a short sti'ing with "bowline" tied in one end. Tf to]) 
and bottom of sign or bencdi is straight, it is the only reciniremeid. 

All lines drawn Avith the string will parallel the guide line 
or edge of sign or bench. Pass craxon or -jiencil into loop of 
string; hold the ])encil between thnmb and forefinger of the 
right hand. The thumb and forefinger of the left hand should 
be placed l)eneath the ah^c of the bench or sign and kept in a 
rigid position. If under edge of sign is inaccessible, ])lace sign 
on a ledge so as to form a right angle with the sign. The fingers 
iholdiug the lower end of the sti'ing should now be run along or 
in the groove thus formed. 

"Dot" the ]ioints where lines are desired, and then begin at 
left of sign, keeping string "taut," and mo\e both hands simul- 
taneonsly to the right. Repeat for each line. String must be 
ke]it ]ier])endicular, or lines will sag to the right. 

PLAIN CARDS 

Without t|nestion, the most popular style of card with busi- 
ness honses in general is the white card bearing ])lack lettering. 
It can be depended u])on to give satisfacti(tn in the majority of 
cases. Also, in tin- ma.joi'ity of cases, the ])lain card is the most 



32 SHO\\' C'AKI) WRITING 

desirable; and again, blaelc and white is the strongest contrast 
obtainable. The main thing demanded in all classes of sign 
painting is "legibility." This requirement is often overlooked 
and neglected hy the too zealous young card writer, who wishes 
to give expression to his artistic aliility. whether good, l)ad nr 
indifferent. Rarely indeed will }0U find a customer \\ho will 
complain that your work is too plain, or l)ecause of an absence 
of ornamental flourishes. A sign that cannot be read at a glance 
will not, as a rule, meet with the approval of your customer. 
Very few are attracted by ornate features on a piece of work. 
No matter how cleverly a card is lettered, it can be rendered al)S0- 
lutely worthless l)y an "overdose" of scroll work. Ornament 
should never be carrii'd to such an extreme that it may hi- termed 
on the whole as superfluous. 

There is a strong line of demarcation l)etweeu an o\'erwrought 
piece of work and the example that has "just enough" eml)el- 
lishment, so it is well to be conservative in the matter of fancy 
lettering and embellishment; and again, the line of business gov- 
erns to a very important extent. Fancy, ornate cards would l)e 
apin-opriate for Millinery, Candy Shop. Place of Amusement, etc.; 
for the more conservative lines, their use would be i)rohi])itive 
— the taste would dictate something very dignifled and rich. In 
the main, the general tendency among professional card writers 
is to suppress ornament and avoid unnecessary details. It 
requu-es real ability to execute a "clever" card which can be 
termed "the })ersoniflcation of simplicity and legibility." 

MORE ABOUT COLOR SCHEMES 

The average "run" of "cards" can be "white," ))earing neat 
Black Lettering, with Liglit (!ray Shade. Keep inscription well 
centered and balanced. Always bear in mind that this style of 
card is appropriate for any line of business, and can be used 
without fear of criticism. "This style of SHOW CARD IS AS 
STAPLE AS SUGAR." 

Another very handsome style Avill be found in white card, 
black lower case letter. Red Caiutals; matt line two inches from 
edge of card. This matt line to be quite flue, in Red or (iold 
Bronze. 

For a rich card, use white, all black lettering, gold bi'onze 
shade, gold Ijronze matt line. 

MARGINS 

It is never necessary for show cards to carry letters as large 
proportionately as the outside or permanent sign. 









03 

Q 
o 

>< 

o 

iz; 



SPECTAL rOLOl? sriIlvMKS KOIJ FANCY CA1M)S :>.3 

Sli(»\v Ciii'ds sliDiild alwaxs lia\-r ;; 
\ci-\- lihcral iiiar^iii, iiiii<-li nnirc than 
aii\- st>-lc (if si.i^ii. 

The Inscription slKMild be well 
"ccnti'rcd" — i. c, krjit well in from 
the ontside ed^c <>f tlu' card all 
ai'nnnd. Tt is almost inqiossildc to u;*) 
to (\\trcnics in this r('S]H'ct: the wider 
the mariiin. the l)ott('i- the card will 
look, in tile majority (d' cases, llow- 
ev<'i-. the matter of margins, like all 
other jiliases (d' tlie art of ( 'ai-d Writ- 
ing, nmst lie !j,-o\-ci'ned by sensible 
princijiles and precech^nts. 

Al\va\-s liear in mind tliat a small 
letter with lots of siiace snrronndinu 
it is nioi'c cons]iicnons than a lai's^'e 
letter, nnless sinnlarh- handled. 












O iirfi illl I 



« ii !? 

O g^ii'' 

o -- — 
o 

<} 

1-1 . . , 

O .=.§ a 



wa; 



SCROLLS AND BORDERS 

All decorative featnres in the form 
{)[' scrolls, borders and lint's should 
alwavs a]»]ieai- in snbdned color, 
nnu'li less conspicnons than the colors 
nsed for letterin-. THE STYLE of 
ornamentation is not so important, 
providin-;- this laile is ftillowed. 

The motif of decoi-ation may be 
verv elaborate ni>on a FANCY 
CARD, if the c(dor scheme is com- 
paralivel\- indistinct, thns not de- 
tracting- fi'om the inscriiition. 

BORDERS 

Tf boi-der is heavy and massive, the 
moi-e the necessity for adhering 
closely to the foren'oing paragraph 
with refei-ence to color value; bnt if 
it is delicate and light hi weight, tln^ 
color can be ])roportionat(dy stronger 
— in fact, pure colors, snch as red, 
blue, yrecn, even Ithndv. may be nsed 
aiifeeabh'. 



34 SHOW CARD WRITING 

Reversing Ornament 
Corner Pieces and Scroll Panels 

Use piece of thin ^Manila paper, if cornei' piece; "draw in" 
fully iq)OU tlie Manila Avith piece of black carbon paper nnder- 
neath the drawing-, carbon side up. This will give you duplicate 
drawing ui)on the under side of your paper, and in reversed posi- 
tion (duplicate). Place in position upon your card, carlion pa]X'r 
underneath (carbon side down). Trace with hard lead pencil, 
and repeat for siibseqnent duplicates at each corner. 

For conventional scroll designs or designs uniform in charac- 
ter as to sides and general outline, proceed as for corner pieces, 
except that you "draw in" one-half of the design and duplicate, 
as previously suggested. 

Patterns for air brush masks and stencils are made in the 
same way with referen(.'e to prelinnnary drawing; should be trans- 
ferred to heavy cardl)oard or foil, per previoiis suggestion under 
the heading, 'SStencils or INFasks for the Air Brush." 

Patterns for raised card))oard ]:»anels are prei)ared in the 
same Avay by drawing in design upon separate paper and trans- 
ferring, after which they are cut out with stencil cutters knife 
or (if not too intricate as to design) with a jiaii- <>f sharp scis.sors. 

Rococo Scroll 

Rococo is without (|uesti(iii the most popular scroll used by 
the lettering ])r<)fession, for the very important reason that it is 
the most flexible of all known ornament, meaning that it can l)e 
rendered in an endless variety of combinations, very elaborate 
for brush execution, and simplified for panels that are to be cut 
out and used for raised effects. 

Ribbons 

Ribbons can be used effectively in coml)ination with scroll 
effects, and must be pleasing in contour and kept simple and 
artistic. The examples shown in "design division" of this work 
will serve as general guide. 

Fancy Initials or Capitals 

are indispensable to the card writer. Never use more than One 
on a card. If more than one is used in an inscription, the card 
will look overdone, making more than "One Cap" superfluous. 

The "Illumination" or ornamental features are to be ren- 
dered in subordinate color values, as previously suggested hints 
on ornament. The illumination must of necessity be simj^le, easy 



PRICKS FOR CARDS 35 

to rendci', and (|iiick; (itlicrwisc, if tod clnltdratc and serious, it 
woidd iialurally lie jn'dliiliil i\c. 

PRICES FOR CARDS 

No work of this kind would l»c coniiilctc with the Pi'icc (Mule 
eliminated. It will therefore he yixcn due consideration m ;i i;-en- 
eral wa\'. and snfticiently to i;uide y<»n in your e\-ei'y-day work. 

AN'ith heiiinnei's in Sii>n Painting and ( "ai'd \\'ril iny, the tend- 
ency is to quote too low instead of too high. 

Plaee a value n])on yoiu" work that will yield a satisfacto)y 
profit, eonunensurate with your ahilitw Charycs can always he 
modified a ti'ifie, ]>ut it is oue of the physical iiuiiossiliilities to 
advance the ]irice if, through i^iioi'ance di- cai'elessuess, the first 
price is found too low. 

No excuses can he (dfered foi- the h>\\ price, unless the I'eason 
be that of nieetinu- a |irice-cntting comiietitor, and that is no 
reason at all. A jirice-cuttiiiL;' war hetween j'ixal si;;ii i)ainters or 
card wi-iters meets with hut one logical end — the I'etirenieiit of 
one or l)oth from the field, and incidentally tlx' cheapeinng of a 
medium of commercial ]»uhlicity that has a ti'ue and intrinsic 
value to the advertiser. 

With the card writei-, the ]>rice prcthlem is not a vei'v serituis 
oue. Materials used are nearly the same the year round, and the 
sizes are limited. Cost of materials is coniiiarati\'el}- nninqxir- 
tant. Time to execute work is the priucii>al factoi-. Nor will 
\-on. in file hegininng, as a novice, figure on getting the same 
prices and consideration that the expert gets and is entitled to. 
Youi' ahility is the first essential to develop, and this ai-com- 
])lished, \-our ]irice list and ])i-olits will take cai-e of themselves, 
jii'oxided vituv scale of pi-ices on stajtle items is consistent. 

If in business on your own account, your charge for work 
should ))(■ based upon $1.00 ])er hour, plus your overhead expense, 
which includis sho]) I'ent. light, heat, and Wxcd incidentals. 
A]iproximate this, and you can't go backward. 

This would I'csolve into the following scale, which is prac- 
tically universal : 

Average rim of cards, ])lain in treatment — 

Full Sheet 75 cents 

Half Sheet 50 cents 

Quarter Sheet 25 cents 

Eighth Sheet 15 cents 

These prices are based u])on quantity lots — i. e.. upon the 
assumption that you are to receive a certain amount of work each 
week or month. 



36 81I0W CARD WRITING 

You sliuuld quotr the transieut customer at least 25 per ceut 
more. 

I)oul)le Full Sheets and Cut-Outs— 

(Air Brush design) $2.50 to .f3.50 

Single Full Sheets and Cut-Outs — 

Fauey or Aii' Brush desigus..tl.50 to $2.00 

Half Siieet Fancy $1.50 

Quarter Sheet Fancy 50 

Price Tickets 25c to $1.50 i)er doz. 

SEASONABLE DECORATIONS ON CARDS 

(Cards Synonymous of the ^lonth) 

The expert card writer should make it his special Imsiness 
to ac(|uire a c()mi)relicnsive understanding of seasonahle decora- 
tion. Co-ope]'atc with the chief window triiiinier. and get an 
advance knowledge of the itredominating color in a contemplated 
'•window trim"; it will do nuich toward eliminating the ".lar- 
riug" elfects ofttimes seen in the windows of the "best shops." 

A wind(tw trim can lie a beautiful creation in itself, and the 
whole effect ni-iri'cil by introducing a "false note" in the shape 
of a card entirely at variance with the general scheme. The aim 
at all times should be harmonious, or if complementary color is 
introduced, have it quietly enter agreeably. The more sulitle it 
is, the more retined it becomes in feeling. 

For exam])le, the ""Window Trim" is one in wliich blue ]tre- 
doniinates. Hie card or cards can be blue in monot(Hi( — i. e.. deep 
l)lue ground, jiale blue lettering, or pale blue ground, dee}) blue 
lettering. This would be in full harmony. If complement is 
desired, use diffei-eut tones or tints of terra cotta or old gold. 
"The Clime"" would l)e a red card — a discord, it would take vol- 
umes of text to say all that could be said u])on this one subject, 
so we deem it advisalile to jiass the ])i'oblem on to the ambitious 
student, who will Hud nuicli pleasure in analyzing this most inter- 
esting phase of Sliowcard Art; passing on to suggestions for sea- 
sonable decorations to cover calendar UKUiths. 

January 

In northern latitudes, January re])resents snow and ice and 
freezing tem])eratures. Color schemes for cards should be in cool 
comliinatious — blues and greens — sim]>le and easily executed 
l»oster snow scenes (supplementing suitable panels) acting as 
general l»ackgi-ound. 

Winter anuisemeuts can be symbolized in posterized skates, 
snow sho(>s, sleigh bells, curling irons, etc. 



SEASON A HLE DECORATIONS ON ('AKM)S 37 

February 

is ]>rnctically the same as .laimai'v as tn weather eoiidiiioiis. Tt 
als«i (•(iiiiiiieiiiiii-ates the liiilh ot' ( !eiii-ii'e W'asliin^tdii. Many syiii- 
ImiIs can he used, such as swoi'ds, cross ^iiiis. tirst Itatth' i\;\<j;, 
national shiehls, W'asliini^tou llat<diet. etc. 

March 

The montli n\' wind and unsettled weatlier conditions, ovei'- 
cast skies, and nnidi rain. ( 'oloi' schemes sliouhl he in hlac]< and 
neuti'al i;-i'ays. Poster hindsca]ies can he use(l. in'el'ei'altly after- 
sunset ert'ects, ovei-cast sky with I'it't of hi'ii^lit al'tei'^'hiw U]»oii 
horizon, swirl of dead leaves in fnreii^i'onud. 

Storinx' ])eti'els and n-ulls iiyiuL;' ahout, to fni'ther animate 
the scene. 

April 

A]iril is cons]»icuous hecause it hinn^s to min<l tlie l»esuri-ec- 
tion. Easter Lilies may ]ii'edoniinate as decoi';iti\'e features. 

('hicks, ])nrsted ei;^- shells, etc.. may he effectix'ely used. 
I*ni'|ile and Wliite are Ivister Coloi's. 

May 

]\[ay :'><! hrin^s Decoi'ation Day, and is a national holiday. 
Flag's, hnntinii'. wi'eaths and national emhiems are sn^<;-est('d. 
Patriotic colors should lie used — ri'd. white and hlne. 

June 

The month of roses and weddings. K'oses slionld he the cen- 
tral (U' i»redoniinat inu' featui'c on cards; ai'tilicial and "'cut out" 
may he used, 'i'emns rackets, cro(|uet halls, oars, collciic reL;alia. 
class pins, jx-nnants. etc. are smj.cested as symhols. 

July 

F'lays. hunting', cannon, firecrackers, i-ockets. shields, eau'lc, 
ea^h''s head, spi-ead eaiih' — all symholical of the (Jlorious Fourth. 
\U'i\. white and hlne for color. 

August 

Vacation ni(tnth.. Symhols: oars, can(K' paddles, l)ooks. tishin^- 
tackle, hammocks, fans. 



38 SHOW CARD WRITING 

September 

Beginning of antiunn. Use bright color combinations, syu- 
onynious of change of season; posterized figures of childi"en, 
school books, etc. 

October 

Use late fruit as syml)(»ls, grapes, apples, etc. Render in 
poster effects; squirrels and nuts are also apju'opriate. 

November 

Foot ball, college pennants, turkeys, cranberries, wild game, 
corn sheaves, are all synonymous of this moiitli. Neutral grays 
and yellows for color. 

December 

Santa Claus occupies the center of the stage; needless to 
say. he is accom]ianied by holly and mistletoe, (io to exti-emes as 
to coloi- and frost cifects — nothing too elal)orate for this great 
Annual h\\stiva! of all ( 'hi-istendom. 

PRICE TICKETS 

Where price tickets accompany a set of Display Cards, do not 
liaA'e them at variance \\-ith coloring and general scheme of the 
main cards. Treat tickets in same style and color scheme; have 
them all "one family." identifying them as a pleasing whole. 

AIR BRUSH (General Description) 

The AIR BRUSH is totally uidike any bi-usli or ])en, and in 
reality is not a brush, if truly named, it is a cleverly made little 
instrument that a]»i>lies colors or inks to sui'faces liy means of 
compressed air or carbonic gas. and this little tool has been very 
aptly styled the Air Brush. 

The air forces the li(|uid out of the tool in a tine .spray. By 
pressing a small level- or "trigger" on the air brush, it is possible 
to gauge and control this spray so that any efl'ect can be produced, 
from a fine line to a gray or wide color value, rendering a great 
variety of color A^alues, enabling one to "model" more cleverly 
than with any known "loose" medium, dry ]ioint, stomp, crayon 
sauce, and usual brushes. 

In Show Card work, the variety of coloi' values are rendered 
(as previously suggested) l)y means of placing "cut-out" letters 
(called masks or stencils) upon the surface in desired position, 



PAYZANT PENS 39 

and then "})layiufj;" the ;iii'-l)i'iish spray over ciilirc surracc. 
When "mask" is i'('nio\c(l, you will find a white sillioiicttc. 'I'liis, 
in turn, can he "i-i>iiii(lcd uj»" or modeled to give the appearance 
of "relief" from the hacicgrouud, by "])laying" tlii' spray upon 
the left-hand ed<;c of veilical strokes, and tlie inidei- edges of 
horizontal sti'okes. 

On ordinary cards it is customary to si)i'a\ a Mack "shadow 
value" upon red or coloi-ed lettering jilaced upon wliite oi' tinted 
ground. This is tlie most popular (juick air-hi-nsh route. 

Besides thi' Air Brush, it is necessary to ha\-e an air pump 
or gas tank (gas t.ink iireferred ), to give necessary pi-essure to 
the brush. 

The air compi-essol' oi' taidv shouhl he ])hiced ;it tile hd't (d' 
your table and hung in its clamp against the wall. 'I'his ]iosition 
giA'es a good \antage point, making it easy to note the jiressui'c 
by a (|uick glance at the "gauge" on the tank'. .\ co?i\-enieut 
hook .should be ]iro\ided neai' at hand, on which to hang the brush 
when not in actual use; this should l)e on yoiu- left, and as neai- as 
possible, to be within easy reach. 

To produce fancy panels (|uickly, to be use<l as masks, and 
whert' the four coi-ners ai'e to be alike, take a jiiecc i>\' light .Manila 
l)a]»er or lead b)ik bild it twice, bring all foni' coi'iiers together, 
sketch in the design, and cut away the outer edge of the super- 
fluous paper oi- foil; unfold, and a com])lete mask is the result. 

The same method can be a]»]ilied to all borders and oi-uanients 
that "re]>eat" on coi-nei's, oi' wheiv "sides" are to be uniform. 
fold but once, and sketch in one-half of design bid'ore "cutting 
away. ' ' 

PAYZANT PENS 

One of the most rei-ently patented Card Writer's Pens is 
called the PAYZANT (free-hand) PEN, with an iid< ivservoir 
attached, made in various sizes. 

It is particulai'ly ada])ted for free-hand sti'oke lettering, and 
for outlining large letters, that may 1)0 tilled in with a biaisli. It 
is very easy to ac(|uire the use of these ])ens, as the jioint is so 
constructed as to pi'odiice the same gaug<' of line, no matter in 
what direction the ]ien is moved. 

The resei'voir holds enough ink to letter from one to two 
hundred words. 

For ruling borders, they have a capacity of from twenty-five 
to thirty feet. This pen was invented by S. Wallace Iless, noted 
Chicago card writer. 

The pen is so constructed that it will last a life-time. 



40 SHOW CARD WRITING 

Directions 

Fill the 1)011 by a (|uill or dropper, in the same manner that a 
rilling- pen is tilled; never dip it into the ink. After tilling-, adjust 
the nibs to the proper feeding distance, and test on scrap ])aper. 

If pen IxM'omes clogged while in use, open the nibs slightly 
and insert piece of paper. 

After using, remove set screw, open reservoir, and. clean 
thoroughly. 

Olttain this ])en from Advertisers iu this ))ook, Chicago, 111. 

THE AUTO MARKING PEN 

The Anto Marking Pen witli tlie Fountain Attachment is the 
most rapid implement for lettering made. One tilling of the Foun- 
tain is sufficient for several hom-s' work with the ordinary sized 
pens. 

Get them fi'om Advertisers in this book, Chicago, 111. 

Soennecken's Parcels Pen 

Is very similai' to the marking pen, excejit that it has four 
additional blades "atoj)"" (if the "lettering blade." and they act 
as an ink resei-voir. Fill with a "dropper." 

Also ol)taiiiable fi'om the Advertisers in tliis book. 

Keeping the Air Brush Clean 

If the brush "throws" an irregular spray, it is dirty, and this 
is caused by one of three things — either the coloi- needs straining, 
or color has dried in the color jtassage, or the adjustment is not 
right. Any one of these would cause "s])itting." Correct the 
fault, and if "tip" is not split, the trouble is easily overcome. If 
tip is split, get a new one. 

If brush is double action, never let the trigger snap forward 
into the tip; it will surely split it. 

Keep the brush clean; strain the color or ink used. Xever 
take a brush a]iart unless al)Solutely necessary. If anything 
should get into the tip, use the reamer carefully; don't force it 
out. Placing the finger over end of brush and blowing tank air 
back through the color tul)e will nearly always remove the 
ol)struction. 

A strong solution of Sal Soda, used hot. is very fine for clean- 
ing out accumulated color out of a brush; use plenty of clean 
water afterward. 



SHOW CAIJI) PHRASES 41 

Card Writer's Idea "Hatchery" 

Tlio card wiitcr must <>{' necessity be constantly on the alert 
for new ideas ami idea maiciial. 

( ilaiiciiiLi' ()\ci' X('\vs|iai)ci-s. Ma.i^aziiics and Periodicals, 
*'s]i()t"' and "(di]!"' c\ci-y di-awini;', design, etc., that appeals to 
\(iii as lieini;' aii istic. I^'ile it away so that it can ln' i-eached easily 
when wanted. 

Also do this with e\-ery ^dod illnstration oi- reprodnetioii of 
card writini;- oi' si^n ]>aintiii,n' that yon I'aiicy; then, when called 
ujioii to delivei' "soiuethiiin- different/' _\'on will ha\-e an ahnn- 
dance i>\' i'(d'erence to r(dy npon. 

Make a note and I'onu'h layont of every <i'ood card that xon 
will notice in yoni- ranihles; tile these also. This will keep yon 
l)Osted as to what is "doiug" in your local field, and make it pos- 
sil)lo for yon to "create'" decided novelties. 

There is nothing new in design under the sun — meidy modi- 
fications nf Period Styles n\' the lon,<;- a.yo. Ahhreviatioiis and 
individual ex])i'essions (d' standard styles have given ns the "New 
Art" of the ]iresent time. 

Originality is merely aiiothei' tei-m and name f<n' X'ersatilify 
on the part of the individnal. The so-called and self-styled artist, 
who ]iasses conteniporai'y art l)y with (dosed eyes, is at hest a 
nai-row-minded egotist, and nidess he he a genius (which can 
hardly seem possilde), hi-'^ Avork will be rather mediocre. 

Don't be afraid to enndate and coi)y your f(dlow-ci-aftsmen; 
it will broaden and add nimdi to yonr ability as a sliow card 
wiiter. ^'onr individuality will be EVER PRESENT in yonr 
work, no matter who oi' what yon enndate. 

Kee]i at least a dozen ordinary lefti'r tiles I'm- your ".di]»- 
])ings." Lalxd them nndei- dilfereiit (dassitications, siudi as Alpha- 
bets, Card Ikcpi'odnctions, Heads. Ornaments, female f'iii'ni'es, 
Male 1^'ignres, Child's Heads, CJiildren, Hii-ds, Do^s, iioi'ses, 
Mai-ine Scenes, Wilder Landscapes — Serions, Winter Landscapes 
— Postei' Style, Flowers, idc. These tiles will aid as yonr "Idea 
Hatchery." You should begin to install it at once. 

SHOW CARD PHRASES 

A diamond — the L;irt <>\' uil'ts for a woman. 
For Xmas— A GLOVE CERTIFICATE solves gift giving. 
Cravats, daintily boxed for gift giving, gratis, $1.00. 
The sweetness of low jU'lce never equals the l)itterness of ]H)or 
quality. 

The memory of (|uality lasts long after the ])rice is forgottcu. 



42 SHOW CAED WRITING 

Don't waste your money; appreciate its full value by bu.yiug 
liere. 

The wind of fashion has lilown these straws into favor. 

A saving worth making. 

Short prices — Long values. 

Pretty Patterns at Petty Prices. 

Millinery that is a treat for the eyes. 

Distinctive styles at distinctive savings. 

Smart Followers of Fashion endorse these styles. 

Practical Silks for economical women. 

Small prices that bear a heavy burden of quality. 

June, the wedding month, finds us ])urdened with just the 
right gifts. 

Things to wear, for men who care. 

Faultless in Fal)ric, Finish and Fit. 

Hang u}) a hammock — the season's in full swing. 

Wash Suits that the Tub can't dismay. 

Just a little different — just a shade the best. 

Here is cool gray comfort combined with style. 

What you buy — we stand by. 

On many stocks we've put a price that's sure to move them. 

S]iring is the ^[ohair season— Blue is the ^lohair color — This 
is the Mohair opportunity. 

We are earliest with the latest things. 

Moving pictures — low prices are moving them. 

For judges of Value — a glance will suffice. 

These prices keep people coming in and goods going out. 

Fashionable, but not too fancy. 

It's lace curtain time for wise housekeepers. 

Here are veils — avail yourself. 

Pure foods economically priced. 

Satisfaction goes where these go. 

These will make the most exacting happy. 

The price is as low as true merit will allow. 

These are the fal)rics for which fashion is making such urgent 
demands. 

Quality gained and money saved. 

Good to look at, and better to wear. 

We feature fashion's fairest fancies here. 

The quality is as substantial as the saving. 

Little tilings most necessary to the household. 

Now is the time — Here is the plae(> — This is the price. 

You can safely buy them with your eyes closed at this price. 

As fashionalde as they are seasonal)le — As serviceable as they 
are reasonable. 



SHOW CAKl) PIIHASKS 43 

Pix'tty pieces at pci'suasivc pi'iccs. 
Saiui)lt' trunks that want to ^o t raxclin.i;-. 
C(inifortal)l(' hcddinti- for tlicsc chilly nights. 
The latest liatclnn,<is from fashion's incuhator. 
lleavx' waikini;- L;lo\-es thai arc iindei- niarchiiii;- oi'dcrs. 
'i'hrow thciii in the tuh and wasli thcni to youi- heart 's content 
— yon can't wash out the fact that tliis price is only half their 
value. 

'J'urkish hath towels that are thick and thii'sty. 

\\'hate\'er is needed for coolness and appearance is here in 
plenty. 

lM-ei-\- seam. ever\- plait, evei-y hem. shows i)erfection of 
workmanship. 

Soaring (|ualit\- — l-'allini;- jirices. 

Kain rattles off these i-ain wi-ajis. 

Fashion's favored fancies in fiu's. 

Here's a chance to sa\i' h>' spendini;'. 

It will he our fault if you don't return. 

J )oinus heat promising-. 

( 'ome a.n'ain and uain a.uain. 

JJarii'ains — not remnants. 

A ti'umpet <-all foi- har^ain-si'ckers. 

^\ har\'est <d' furnitui'c fancies. 

After these ai'e u'oiie. no moi'( — It's just chan,<;-in,i4- money, 

AViU'thy silks — ^Vol■thy savin.n's. 

Prices reduced to the lau.uiiin.u- ]ioint. 

I'rices of powerful popularity. 

(io(jd news of ii'ood n'oods. 

A dull knife tries the tem])er— Here's the finest American 
talile cutlery. 

Cut to insui-e comfoi't without askin.i^' x'oui- vanit>- to ]ia\- the 
penalty. 

(let a notion of the hunnnini;- notion sale — It's near the end. 

Thev look line and well made — And will ]irove so in the wear. 

Sucii a splash!— When these ^2.10 IJatliim;- Suits -o to sea. 

dust an instance of what oui- china section is doiuu-. 

Hammocks Fall— These have di'opiied from ^G to $4. 

If yom' ])ocketd k is your i^-uide. walk in. 

Things you want at jn-ices \-ou'll like. 

The ])rice u'ives no hint of their real value. 

A haiipy lilend of comfort and style. 

These ])rices rarelv huy such (jualities. 

As g-ood as any — lietter than most. 

AVe have sliaved the price on good razors. 

Comfortahle Imt not clumsv. 



44 SHOW CARD WRITING 

Window space only a small display — Inside we show the full 
line. 

A protital)le loss — Turning these into money. 

Prices that tell the tale — Qualities that make the sale. 

Summer cottons for Winter Tourists. 

The Tailoring and Fabrics are Ix'tter than the price suggests. 

The more you like comfort, the more you will like these. 

A harvest festival of good things to eat. 

Stu'ring economies for good housewives. 

We give lessons in right buying. 

We do everything to sell our goods but misrepresent them. 

We originate — Others imitate. 

We are out-tnlked often — outdone never. 

We've l)een looking foi- you — Now listen. 

The key to wealth is right l)uying. 

The eai'l>' buyei' gets the choice. 

Quality costs, but it's the surest guarantee. 

Our clerks are here to assist — not to insist. 

Our ])ati"ons wear snnles. 

Madi' on honoi- — sold on merit. 

It takers nerve to sell at these ]irices. 

It takes sense to make dollars. 

We give lessons in I'ight ])uying by examples in low selling. 

Don't won-y about the lit — we attend to that. 

Don't let cigars get the best of you — Oct the best of cigars. 

If you don't decide today, we can be foiuid here tomorrow. 

Ijcaxc \our tliii'st at this fountain — oc. 

Now you get the ]»ick — Later you get the remnants. 

Quality the true test of cheaiuiess. 

Take your choice from this choice lot. 

Talking about Strikes — How does this strike you? 

To have lieen first proves anti(|uity — To have become first 
proves merit. 

We can make it warm for you if you need Idankets. 

We have Trunks that will laugh at any 1)aggageman. 

We don't follow the leaders — We lead the followers. 

We're so far ahead that we're lonesome. 

Shoes 

WE SELL SHOES— NOT OUR CUSTOMERS— NEW 
SHOES SOLD— OLD SHOES RE-SOLED. 

SHOES as you like them for less than you usually pay. 
SHOES that are on TIP-TOE to get out of the store. 
It's time to step into S])ring Shoes. 
A shoe Avith everv mark of correct stvle. 



SHOW CARD PHRASES 45 

It's Oxford Time. Lot our Shoemau take care ot your feet. 

No trout)l(' to sliow shoes — No shoes to sliow troubh'. 

A Paradise of rest for Weary feet. 

The man of taste uever allows his taste to fall short of his 
shoes. 

That l)()y will tiiid his match in our Scliool Shoes. 

The kick of the Ixiy and the skiji of the ^irl ai-c iii-o\idcd for 
in our School Shoes. 

Oui- Storm Sliiipci's Ivciuii Sui)reme Whci'cxci' It liaius. 

S|>i'in,u\' Shoes for S|iriii^- and Sumuici'. 

('ommon Sense Heels, ivxteiision Soles and (Joodyear AN'elt. 

Calf l.in.'d soled to the heel. 

Be sure ot _\()ur footini^', tlien ^d ahead. 

A SHOE "That Fits tlie Foot and Feasts the Eye." 

An Easy Sh(»e witli an 1-L'isy Price. 

It's no lent foi' ns to tit feet. 

If the Tongues in these Shoes could speak, they'd say, 
"Mii>hty (iood!" 

Not only ix 1 Slioes for iierfect Eeet, l)ut Perfect Shoes for 

all Eeet. 

Low Slides at Tiow Prices. 

For voui' feet's sake, lend ns your ears. 

Eit Well. E.'cl Well, Look Well, Well Worth the Price, Well 

Made. 

Easy Shoes for tender feet— Ease and Comfort Combined- 
Comfort" for the Eeet, Easy for the Purse— $2.00. 

Men's Clothing and Furnishings 

Collars that tit the Season, the Shirt, the Eashion and the 
Pocket-Pook. 

Tlie\- can '-tie"" oni' Cravats, l>nt can't heat them at this in-ice. 

Socks with ( 'locks i-iii'ht n]) to the minute. 

Worn particularly li.\- Particulai- Men. 

In Vests We have just the \'ests You'll invest in. 

Are yon trouMed with -'Holey" S(M-ks.' These are Wholly 
Cood. 

(_)ur Store is the Caiiitol of "Scarfdom." 

The man in search of a touch of Newness will find it in this 
Store. 

An Ounce of Good Enderwear is wortli a Pound of Medicine. 

An l^ndersellino- Sale of Sunnner Enderwear. 

Eine F'urnishini^s for Eastidious Eellows. 

^Medium and Heavy Weights— Soft, Fleeey Garments. 

Si-htlv! Worn Nio-htly, :\rade Sio-htly, Priced Slightly. 



46 SHOW (JAKD WKITING 

Ladies' Wear 

Favorite Dress IMaterials for Summer lilnd-ot'-Season Prices. 

Tlie Miss who wants white will be well pleased with our 
assortment. 

For the < Jirl who wants to be Prettier. Here are Suits to take 
you "Out of the Crowd." 

Stylish Ship Shape Sailor Suits. 

Women's Xew .Vutunm Suits to i)ut ri.ii'ht on and be com- 
fortable. 

Waists that have the secret of good simi)licity and ^ood taste. 

Tailorish Silk Shirt-Waist Suits. 

A Whirlwind of Bargains in Dress (foods this week. 

Exquisitely Tailored Suits. 

No lady's wardrol)e comi»lete without these Dainty Rustling 
(iarmeids. 

Noisy Silks at Quiet I'rices. 

There is Superior (irace and Character in all of our Tailor- 
Made Suits. 

Men's Hats 

Hero's a "Straw" without a Flaw. 

Stylish Straws — Sensible Shapes — Smart Styles. 

Soft Hat Coud'ort for Ilai-d-Headcd Men, who aitpreciate 
Style, Quality and Cood \'alues. 

Here is the Hat you had in mind. 

No Headaches in these Hats. 

Crown ^'oul•self with the Season's Latest "Lid." 

A Pewildcring Assortment of "Crowns" for His ^lajesty 
"The American <'iti/en.'" 

'old hou, 'ere his yoin- 'at. Hat the Right Price. 

Boys' Clothing 

Suit yoiu' I Joy. Yourself. Your Pocket Book Avith Norfolk 
Suit. 

Clothes to I'lease the J.ads— Prices to Please the DADS. 

Clothing is Cheaper for a healthy boy than Doctor's Bills 
for a Sick One. 

He'll Never ]ilay "Hooky" if yon dress him like a (ientleman. 

Nothing too (lood for YOUR BOY. 

Men's Clothing 

Mannish diodes for Little Men. 

Pav $13.98 for one of these Suits and congratulate Yourself. 



SHOW CAIvM) PIIK'ASKS 47 

Next to youv ahility coiiics Vdui' ;iii|ic;ir;mc(' — Those Suits 
Make you Look Suiart. 

••<\>stl>- th>- liaiiui'iH as 'I'liy I'ursc will I'ci-iiiit" note llic 
Price. 

Our " I )u(ls" are as ( lood as lliey Look. 

Zero weather is eoniiiiii! <iet into a Heavy Overcoat at a 
Li.i-ht Price. 

Comfort for Hot Weather — Prices jusi as li^ht as the (ioods. 

(iood (Mothes ai'e Tools of Advauceilieut. 

Hell) out the Old < 'oat and \'est with a New I'aii- n\' Trousei's. 

Higli and ]>o\\ 'I'l'oiisei's — Hii;h in (L)nality. Low iu I'rice. 

Real "L\'e Airesters" — These Xol)l)y Suits at attention coui- 
]iellin,n- Prices. 

Odds and Ends 

Kvei'lastinjj,' scents foj- .*)() cents. 

Loni;- J^ife Hair Prushes. 

SOAPS OF SENSE AKJ) SCENTS FOP SEVEX CENTS. 

AC FT IN SHEETS. 

NOT HxVKDWAHE BFT FNDEK'WEAlv' THAT WILL 
STAND HAPl) WEAL\ 

"A WOTH) TO TIH-: WIVES IS SFFFKTENT'— These 
AVillow Plumes will mo\-e rajiidlx' at tliis Fiice. 

"Tuh Ties" tliat will take the Tul) Test. 

Form Tracing- Siii-iuL;' Paimeiit ^'[■'h to ^40. 

The foi-en'oiuL;- ha\-e Iteen added to tliis \V(U-k to aid you in 
makiiiii' uji "'coja" when called u|ion to do so li\' your custoiuer 
who at times will he at loss to know off liand .just what he wants 
in the way (d' insci-ijition. The ])hi'ases ai-e mostly "Jina'les"' 
and are fairly re'|)resentative as they are mostI\' "]ii(d\ u]is."' — and 
the munher is sufliciently lar^c so that you can co\-er most any 
line. 

Be on the lookout at all times foi' catchy phrases, yood catch 
lines, display heads, etc. 



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No. 1 — Js a white end. red display letter, Mack sultoi-diiiatc 
k'ttiT, cinbossed "cut out" tloral. 




No. 2 — Wall \n\\>('v ■•(•lit out" t1i>ral- on white caril 

l>auel cffccl pair -ivcii airbrush — Icttciin-j; in 

vrd. Ail- linish i:ra\' shadow. 




n\usf 

fit 

IJOU 

his 
job. 



No. 3--.M;iiii (\\]-(\ wliitf — piiiicl. Willi paper UKUiiit, 

iiiiitatidii IcatliiT. iJluc Icttrr, wiiitc Dutliiic 

aij(l (iniaiiK'iit. I Mack letter on main eai'il. 




No, 4 — White card — white h'ttei', i)iiriile shadow and hh'iided 
lii'oniid ail' hnish. Reiidei-ed '■(•lit init" floral. 




No. 5 — Wall iiaiici- iiKMiiit — white letter, ail' hrusli shade in 
i)ale i;i'eeii, hlaek outlilie. 




No. 6 — A\'liitc ('ard — iiaui'l ••nit (Uit" ci-c.-itcd — in iiuitn- 
tidii hi'oiizc color — accciiti'd in i^old l)roiiZ(\ "Kcd 
( ';iiis" black letter on displa) , remainder of lettering 
l)la(dc. 




y^//S/7es 



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No. 7 — White ( 'jird— fashion H^iirc "cut out." Red 

panel — white h'tter — modeled ou shade 

side — air brush "i-av. 




No. 8 — W hitc ( 'ard — red letter, l^aster lalies in wliite "'air 

linished" in jiale y-i-eeii, circle in jiale yellow 

tint. .Matt line — ]iale yellow. 




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No. 9 — White ( 'ai'd — wrcntli is a liroii/.c "■(•ut dut" air 

brusliL'd pink hlciid IVoiii base of wreath, — all 

hhick h'tter. 




No. 10 — Ulissct lii<;i';iiii ]);iii('l iinnuits on 
white. Price in i-e<l, "Suits" red, orna- 
ment red. wiiite (ii-nanient on suit 
]ianel, letter on triangle in white. 




No. 11 — White (_'ar(l — \K\ur\ incdiuiii iMirplc, oriiaiiiciit in lavcudcr 

tint. 




No. 12 — W'hilr Card — black IcttcriiJ:^-. lii'ax oniaiiiciit. 




No. 13-- Mi'diimi < •vi\y ( anl- white iii;itt line. ;iir hnislicd 

sli;i(l(i\v. v;ilii(' U|i(iii '■line" niid Icttcrili.i;- — 

IcttcriiiiJ' white. 




No. 14 — White Card — panel air hnishcd (Hitliiie. in hhie 




No. 15 — l>;iik (li-ccii (';ii'(l — old l;(i1<1 oi'iiaiiicut. 

or broll/.c, letter p;ile huff tint, reil 

outline and accent. 




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Siored 



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No. 16— Dark (liven Cai-d— red Ifttcr. j.alc hiift" 

niitliiic oil "Furs," i^old hroii/c liiiiiii;' 

to]i and liDttdiii. 




No. 17— White (";ii'(l — white iiaiiel— 
l)ink and ]iale ureeii values air 
In'uslied. \iolets i-eiidered ))yhand — 
all Idaek letter. 




No. 18— White Cjii'd ;iii- hnislicd in 
Sc|ii;i tone white panel — Mack 
letter. 




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No. 19 — \\'hitc Canl — air liruslicd i»i(- 
t"i'ial in l)ln('. Lirays — \vai'm gTeon. 
Lrtteriua' iu bhu-k. 




No. 20--()livc (livcii Matt IJoai'd— Ii;iih1 iiaiiitc 

tldi-al. wliitc lettering- and nniatiH'iit. 

"•(lid l)i'(iii/,t'. matt liiif. 




- ?tl 




No. 23— White Cai'd — air hruslicd in ]iiiil< and purple tints at cor- 
ners, ornament and lettering in gold bronze, oval is "eut 
out opeuiug." — Chicks are mounted toy Chieks. 




Uf)ear> ' 




No. 24 — White Card — cut out (Hicu, lattice at upiie]' left 
hand corner — artitieial fiower entwined in lattice — 
Rnsset ])anel, nionnted, and ornamented in white, i^ray 
tint hack jianel — hlack letter. 




No. 25 — White Card — })aiu'l suggested 
with air brush hleiid of pale gi'eeu — 
piuk oruauicnt, red dis])lay k'ttei-ing 
— bhick suh. h'tt.'r. 



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Bargain Ba^ciiicnt 



No. 26— Wliiti' ( 'ard— black k'tter, gra} uriiaincnt. 




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No. 27— White Card — air l)riish('d white ])aiiel in i;ray — on air hiuslicd pah' 
green, hand painted floral. 




No. 28 — Kiiilxisscd '■(•lit (lilt"" (111 Ill-own i-nvd 
white line. 




No. 29— ni-u\vii C.-ird— white Ixii-dci- — •'eut 
out" wall paper fniit. 




No. 30 — AVliitc ( ';ir(l — white |i;nicl ;iii' Ih-usIhmI in 
]iak' urccii and i^Tuy — lidral hand painted. 






No. 31 — Mdttlc.l IJuss.'t W;ill Paiu'i- 
11 K nil it — Aviiitc iiruaiiiciit. 




No. 32 — White Cai'd — \vi'c;itli ]ialc ui'ccii, 
<ii-iiaiiiciit ill Hrsli tint — arccntcd — 
Avitli (lcc])ci' tci'i'a cntta tint — pale yel- 
low tint — pnrjile and red. 




No. 33— llaiul painted — in color (-(nnliiiiation of your owu 
selection. 




No. 34 — Moonliii'ht marine in t\v(» values of blue 

and ,i;Teen — air bruslied — on wliite card 

— pale ^reen ornament. 



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No. 35 — Ail' brushed pale urecn 
tint — center of ti'iansi'ulai" 
]iaiiel. Se|iia di' "Ashes oP 
l-Joses" hand painted Hnral. 




No. 36— AVhite Tard— white oval— 
lileiided n-rouiid of ])ale tireen 
and dnll ]iiir])le tint hand 
])aiuted "lilaes." 




No. 37 — l)cc(ir;iti\c design — New Art 

panel, in iini]il(' and old gold, 

white "round. 




No. 38 — White ground — l)hu' air brush valiu' fonniiiic "val 
white — fashion tigure "cut out." Oruamcut — in 
two tints of pale blue. 



.val 




No. 39— Air hi-usli design — white card — wliitc })ancl, i)iiik 
air brush tiut surrouuding pauel. 



M- 




No. 40 — Medium (ln\y Card — Pictorial "Se- 
pia Print" — "air hi'iisli" l)ack^ruiiiid 
usiny- leaves for "masks." Sienna orna- 
ment, li'old accents. 




No. 41 — Ail' bruslii'd in pale green and gray 




No. 43 — Si'rioiis '•cut (uit" iiKMlclcd in grays entirely 
air hnisliL'd. 




No. 44--J.ittl(' (Icsiyii oVL'V ••jiiask. 



No. 45 — Little dosiiiii sprayed in oix-nitiy- of pattern 
after mask was cut — sliowiiiL;- Ikiw Ixitli "mask" 
and "\vas1cd" oiieuiu^- of ))aper can l>c utilized 
in rreating- two designs. 




No. 46 — Sliowiiii^- what may lie accuinplislicd without a iiia.sk — tliis h'tlcr was 
"laycil out" accui'atcly — and sti-ainiit hidsc ">^V\]> masks" Iniu' in iiiiiiil)('r. 
each ■•(•oiupositc \ahic"" rciKh^'cil liy hhx-lviiiL;' it <>r IViiciiiL;' in and lhc inctli(i(l 
repeated until the iMit ire h'tter was cdniph'ted. 



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No. 53 — Yellow iiKiuiit (111 ^vllit(' card lettered ill l)lue — air 
])nisli shadow in "rav. 



ScdmrdcLu 




No. 54 — liiiitatioii l>ni-l;ii» nioinit on wliitc (-.•ii'd. white 

letter and IxO'dei- sti'i]ie. air liriisli shade 

oil tile price. 




No. 55— r.lnc "ont iiicar" \v;ill ii;iiici- niniiiit <>u while— wiiiti' 

If Iter. 




No. 56— Imitatiuii Oak A\'all I'apcr nKmiit <ai Avhitc, wiiitc 
Icttci- and ni'iiaiiictit. 



Tull dress 



No. 57 — ^'cllow Onyx ^\';^ll \*i\\n'y iiioniit, 
]h:\\'\ IjurdLT air hriisliud in jjulc uTcen. 




No. 58 — K'cd "uat lucnl" — white Ifttcr, white lM>r(h'r, air 
hnish ">0e. 




No. 61— "Oak" Wall Pa]icr uioiuit— on wliitc. white letter 
and (iniaiiieiit. 




No. 64 — White Card — air hruslicd in purp 




No. 67 — \\'liit( — ail- linishcd in purple. 




mfii^'s-.ii-^mmmmmfm 



No. 68— Oiiiatc dcsiiiii — in lu'utral yravs — all air brush 




No. 69 — Air ljruf>li panel iu ,^■l■ays uu white. 




No. 70— W;ii-iii il.-irl-; iili\-c — ^i-duiid — Hunil. ciii- 
Imsscil wall iiajicr "<-nt out." alsn top cd^x' 
cut dul fdnuiuL;- silliducttc. — vci'v line — 
accent and matt iiuc in ."did. hi'onze. 




No. 71— Dark Gray Card— "c-ut out head," 

white gloss card mounted from 

or on back. 




No. 72— Ditto IKS per Xu. 7U. 




No. 73 — Ditto as pci- 71 and 72 — thin ^rccn 
"oat iiical" wall ])a]»cr uionutcd on back 
liand painted tiowers iu pink valui-a. 




No. 74— Mcdimii •j:r;\y "cut out," mottled l)uir wall 
l)a]ici'. "hack mount," .^2. Red, with black 
outline and accent, Any Hat, in white, red 
"poster spot." 




No. 75— Dull T.'m Mottled ( "ard 
— liaucl "cut out" and white 
back uiouut. floral in ]iur|»l('S, 
hand ]>aiiiti'(l. white letter on 
uiaiu card, hlaek oniameiit, 
hlaek letter on the white i)anel 
lop ed^e "silhouette cut." 




No. 76— Mrdiuiii orccii •-.•iit out." wliitc i.aiicl niouutcd 
from back, Ijlack letter, hand painted tlural. 




No. 77— l);irk«iv("ii (-;ir<l. 
"fasliioii fiii'iii'c 



•clluluid ■■|i;icl<c( 
wiiilr letter, 



circle pniieK "cut out" 
lilack oruniuent. 




No. 78 — l);irl'; ^i-ccii i-ai-d, •'cut out" imiicls wliiTc 
luoiuitcd (in liack — Mack jxistcr cfiVct on main 
card — $15, Red — rest of Icttcrini;- hlack, hand 
painted floi-al in ]iink values. 




No. 79 — .Mcdiuiii l)i'(»\vii cni'd. "(V'llu- 

loid pniicl" "cut diit" fnsliioii 

tisi'iirc, white nMiniiiciit. 







No. 80— Kiiihosscd T.itlio "cut 
out." (Ill white card. 



^A^. 



»*»'^^l^ 








No. 81 — ••('lit out" heavy t'liiljossed fruit, luduiitcd ou bruwu card- 
white liue. 



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Nos. 82, 83 and 84 — Arc inipurtcd oiiil)oss('(l dcsio-ns — on 
white, call be air brushed agreeably iu pale colors. 



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No. 83— See No. 82. 




No. 84— «L'e Xo. 82. 





No. 85 — SiH'cial Cellu- 
loid "^a'ojcctoi's" tor 
side of show window. 



No. 86— LcttcriuL; 
the ccliuloid in 
blue. 




No. 87 — Full Card — Knstcr design — air in'uslicd in pale grccii and purple. 




No. 88— Ffuit entirely air hrnslied iu 
green and pur^ile vu white rard. 




No. 89 — ^^ aire <!ard — Liiies. aii' htni^hed in pale sreen. New Ait v^ise in terra 
eotta. letter in red. air brush shade in srav. red line. 



«^'. 




No. 90 — rombination hand and air liriish dccdi'atidii, Hunir in bhudc, — white 
])aiicK hleiul of pale i^rccii from bottom, pale ,<;rccii boi-dcr on panel also for 
ornament, — till o]ieninys in oi-nament. ])ale purple, blend of l)aekgronnd 
from deep to lemon yellow, — tabourette in black. 



> ^ 



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No. 91— Mni'Mc effect air hi'ushed in Sepia tones, Floi-al festoon, eni))0ssed "cut 

out," wliite ornament and l)order, air hmisli Se]iia 

sliadow on the festoon. 




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No. 92. — Wliitc, ail' bnislied in Sepia. 



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No. 93 — Eml)ossed "Floral Cut" and lattici-, Grape Vine air brush in Sepia on 

white. 




No. 94 — Air lirushcd •"rustic'" letter in ^-reeii tdiies — ('oin-eiitinnal trees iu grecu, 
air l)rvislie(l in ,L;ray — l)lossoms in pink. 




No. 95 — Air Brush Pauel on white, in pale yreen. 




No. 96 — Emljossed Pictorial inniuited, — air brusli dcsij^u in Sejiia tones. 




No, 97 — Air IJruslicd Vase in yi-iy and ])ale yrccn — artiticial 

ri(»\vri'.s on white Lironnd. 




No. 98 — Lilliputian Sta.y,'(' Sctriiis- — ;iii' brush tlic drajxTx- in iiur]»lc. cut out tin 
<lll('llinl,^ and scparatr the "Back" or panel card w itli ordinary Inittlc corks — 
which will yi\-(' an effect of deiitli to the creation. Tse re,i;idar hall frin,i;-( 
on the drapery. 




No. 100 — Frame is of S-ply white Itoarrl. "fiit mit" wall pajifr floral nioiiutcd from 
back — to top of frame, ^faiii card is bent iu flat semi-circle or concave to back 
of "frame." Frame is air brush blend in pnr]ile and tirccn — ]»ale tints — white 
ornann'nt on frame, letter on frame in oold bronze. Main card is blend of red 
to lemon yellow — letter in gold bronze, shade letter in white. 




No. 101 — Ktiu sliapcd sillKmcttc— cut out :m(l air hrnsliod in ])ur])lc — (ipcuiiii;- in 
center left clear,— liead is Litlm "cut out"" H<iral decoration in inn'|ile values, 
hand vainted. This creation is to he sus]ieuded on iuvisihle tiue wii'es and in- 
tended to form the central or "feature"" of an Kaster Millinery Window. 




No. 102 — :\r()ttl.Ml Knssrt Wall Paper 
iiKiiintiMl (111 wliitf. curled naturally 
at upper left liainl eoruer, — hlend the 
"turn" ill pink and green — ornanieiit 
in white. 




No. 103 — roriier piece — cut owi — air l)nislied — hand Y)ainted 
bouquet. 




No. 104 — Side nnn pit'cc, air bruslied- 
haiid painted "posies." 






No. 105— White letter on gray. 



PBNING 



No. 106 — White (111 (hirk lii-ccii, ;iir liruslicd in \\<A\\ ■■■ri.'t'U. 




No. 107— r.iowii matt, white letter. 




No. 110 — ( 'ut out heads (111 (lark ^-rccu — 
white liiu'. 




No. Ill — Air brush price ticket. 




No. 112— Air brush price ticket. No. 113 — \';iri()us tni'ms and slia]ic,s of i>ri(-c 

ticki'ts. 





— ^ — . — , 


' Half 1 
I Hose * 

1 'Zip/lar 




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No. 114 — I.ai'LJcr sizes of in'icc ticl<cts. 



Vbur 
(noice 




special 




Sale 
Price 

4? 


1 


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No. 115 — And sonic more ])rice cards. 




No. 116 — Artistii- ]ihnto mounts for 
price tickets. 




No. 117 — More jilidto ]ii(iunts. 




No. 118^"St(ick'' air l)Tnsli tickets. { .Mcivliauts 

^upph- Ildiisc, 59 E. Van Burcii St., 

Chieauo, 111.) 




^•mr- 











'S^^^ 







No. 119 — "Stock" air l)i'ush tickets. ( >rci-(-h;ints Su])plv House, 59 E. \'an Bureu 

St., Cliiea<i-o, III) 




No. 120 — liiiitatiou Wood Papei's. (25 in. x 34 in. onlv, Ileni-v Bosch Co., 

Chieao-o, 111.) 






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No. 121 — Onyx Marble Papers. (2-") in. x34 in. only, Henry Bosch Co., Chicago, 

Illinois.) 



I- 




INDEX 

A Page 

Air Brush (general (lesci'lptidu of) :>8-40 

HoAv to keej) clean 40 

Alphabets — l)eseia]itii)iis of 19-23 

Anti((ne lioiiian 20-22 

Bradley Text 21 

Card 19-20 

Egyptian 20-23 

Finished Styles 22-23 

Heavy Scrii.t 22 

Italir Seript 22 

Lower Case Lettering 20-21 

]\[odern Fidl 151ock 21 

Modern Italic 20-21 

Old English 22 

Speed 20 

Tusean Ijloek 22 

Aljihalx'ts (illustrations of) Figs. (>43 

Anti(|ne Light Face Ivoiiian Fig. 11 

Automatic Pen Script Fig. 38 

Automatic Old Elnglish Fig. 40 

Bradley Text Fig. 39 

Card Writers' Plymouth Fig. 22 

Classic Stroke . . . " Fig. 33 

Detroit Stroke Fig. 30 

Engrossing — Single Stroke Fig. 15 

Engrossing Text Fig. 16 

Egyptian — rp]ier Case Fig. 27 

Heavy Face Egyptian Fig. 13 

Heavy Foster Block Fig. 35 

Heavy Sign Script Fig. 34 

Italic Script Fig. 12 

Light Face Si)ur Egy])tian Fig. 18 

Marking Pen Roman Figs. 3)6-37 

Modern Single Stroke Block Fig. 25 

Old Classic Roman Fig. 28 



INDEX 

Page 

Old English Fig. 14 

Olson Bradley Fig. 19 

Ornamental Creations Fig. 43 

Payzant Pen Stroke Figs. G, 7, 8, 9, 10 

Pen Stroke Roman Fig. 41 

Plain Egyptian — Lower Case Fig. 29 

Plain Pen Stroke Fig. 20 

Plain Rapid Single Stroke Wock Fig. 2(i 

Price Ticket Nnmerals Fig. 42 

Rapid Single Stroke Tuscan Fig. 23 

Sign Painters' Scrii)t Figs. 31-32 

Spike Spur Roman Fig. 21 

Strong's Italic Fig. 24 

Tnsean Full Block Fig. 17 

Art of Lettering 23-27 

Com])osition 23-24 

Letter Strokes 25 

Major Fifth 26-27 

Minor Fifth 26-27 

Shading 24-25 

Single Stroke 2-5 

Spacing 25-26 

Atomizei's 12-13 

Auto-:\Iarking ]*en 40 

Automatic Brush 31 

B 

Blended Grounds 1<) 

Borders 33 

Bridge <n' Ai'm Rest 5 

Bronze Powders 13-14 

Brilliant ; 14 

Lettering 14 

Striping 14 

Biaish Practice 2-3 

I>ruslie.s — Show ( 'ard 5-6 

Care of 6 

C 

Card Board 10 

Card Creations — Xunil)ers 1 to 121 

Card Synonyms of the Month 36-38 

April .' 37 

Angi;st . 37 

December 38 



INDEX 

Page 

Fc'bniar.y 37 

January ;',(> 

Jime :<7 

July 37 

:\ray 37 

:\rarcli 37 

Novemlicr 38 

OetolxT 38 

Se])teiiil»('r 38 

Card Wi-itcrs' Idea "1 latrlicry" 41 

Celluloid If) 

Colors— Dry 8 

Water— Adhesive for 8-9 

Color Coiiil)iiiati()iis 27 

Cold Color 27 

Strong- Contrasts 27 

Tri-color Xentral 27 

Water Coloi' 27 

Color Sehemes 32-33 

Si)eeial for Fancy Cards 33 

Correcting- Ei'roi's 18 

On Tinted ( 'ards 18 

On White ( 'ards 18 

Reletterin.u 18 

Cut-outs 15 

D 

Diamond Dust 15 

E 

Elementary ( 'olor Mixim;,' 28 

Insti'uctions for 28-30 

F 

Fancy Initials or Capitals 34-35 

Flittei's, or Metallics 14 

Flowei's- Artificial 11 

Flowers — ( 'utout 15 

Fountain Air I>rusli 11-12 

Paper flasks for. . . .' 12 

Stencils for 12 

a 

Cum-Araliic 9 



INDEX 

L Page 

Layout 17 

Laying Out Inscriptiuus 17-18 

Litteriug 10 

M 

Mai-ius 32 

Materials 1-2 

:\ratt Board 10-11 

N 
Xunicrals 23 



Oniauicut. ])or(lcrs aud Sci'dlls 17 

Ov('r])()\v('i'ing Designs 17 

P 

Payzaut Pens 39-40 

Pen W( )rls: ()-7 

Strokes of 7 

Pens ()-8 

Marking- 7-8 

Ruling 7 

Sliading 8 

Soenneekeu 7 

Stul) 6 

Plirascs for Show Cards 41-47 

l)oys' Clotliing 46 

( 'utting Prices 43 

( lift Giving 41 

Ladies' AVear 46 

]\ren's riotliing and l^'urnisliings 45, 46, 47 

Men's ]Iats 46 

Odds and Ends 47 

Prices and Styles 41-42 

Quality of ( Joods 42-43 

Shoes 44-45 

When to Buy 44 

Plain Cards 31-32 

Plastics for Aii- Pencil 13 

Position of AVork 5 

Practice Work 30-32 

Circles 31 

Lines Without Sti-ai^-ht Edsre 31 



INDEX 

Price Tickets ;W 

Prices for ( 'ards :'..")-:'.() 

R 

Kaised Oriianiciits i:' 

Raised Panels l.VKi 

Renioviiio' Pi'iieil ^[arks, and Dii't 19 

Reversino' Ornament 34 

Corne]- Pieces and Sri'dll Panels 34 

Ribbons 34 

Rococo Scroll .* 34 

S 

Scrolls and Borders 33 

Show Cards 33 

Show Card Ink 9 

A'NTiite Coverinu' for 9 

White Mouo,urani 1^'lake 10 

Show Card Writing 1 

Colors Snitable for 8 

Single Stroke Method 3-5 

Soap Lettering on Miri'ors l(j-17 

Soeuneekeu's Parcels Pen 40 

Si)atter Work 16 

Stroke — Boldness of 5 

W 

Wall Papers 15-16 

Enamel 15 

Imitation Wood and Marble 15 



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PUBLISHERS of SELF-EDUCATIONAL BOOKS 

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UP-TO-DATE Card Writers, Sign ^ 

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and as a result prove one of the best investments YOU have ever made. 



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MANUFACTURERS 



CHICAGO. ILL., U. S. A. 



SHO-CARD WRITERS' 
REQUISITES 



THE 



COAST 

BRAND 

ADHESIVE 

DRV COLORS 



A REVOLUTION IN WATER 
COLORS FOR 

DECORATORS. FRESCO PAINTERS. 
SIGN PAINTERS, CARD WRITERS. 
SCENIC PAINTERS. PICTORIAL 
PAINTERS, DESIGNERS. ARCHI- 
TECTS. PEN ARTISTS. ETC.. ETC. 



Not to be classed 


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Also made in Pure Ox 
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Send 2 cents in stamps for 
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NOW READY 



EBERHARD&SON 

Dept. S. C, 298 Pearl Street 
NEW YORK 



, 




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WOOD LETTERS 

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Practical Books for Painters 

THE ART OF SIGN PAINTING 

I'.y l-'rank H. Atkinson 
Large Quarto. 332 Pages. Cloth Binding, with special 
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THE SIGNIST'S MODERN 
BOOK OF ALPHABETS 



Pla 



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I'.y F. Di'laniotte 
al, Ge 



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l.arKeOblonii Octavo, 20S Pages, IDO Designs. 

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THE MODERN PAINTER'S 
CYCLOPEDIA 



By F. Maire, 
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Uiliirs, What They Are and What to Expect From Them. 

Graining and Marbling. 

Carriage Painting. 

Wood Finishing. 

16 mo. Cloth. Each Illustrated. 
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